editor

During my annual pilgrimage to the Montana Valley Book Store, I decided to dig around in the anthologies section, a section I’ve always avoided before. I’ll admit to a bias for original sources over compilations, and I’ve rarely found a good reason to overcome it. But it was hot outside and cool in the basement where the paperbacks are shelved, and so I dawdled a little longer.

There were the predictable copies of classic story collections aimed at high school and other such forgettable fare. But there were also dozens of copies of Ted Solotaroff’s landmark paperback magazine series, New American Review, and a few of New World Writing, and a handful of copies of Discovery, all in attractive Mondrian-esque covers. I’m sure I’ve ignored plenty of copies of Discovery over the years, but since I am focusing on short fiction this year, I was curious to see if there was anything interesting to be found.

The cover of Discovery no. 1 proclaimed, “This is the first issue of a challenging new periodical devoted to outstanding short stories, poems and essays by some of today’s most talented writers. All the selections are published here for the first time.” Of the various names displayed on the front, most were familiar: Norman Mailer, William Styron, Hortense Calisher, Chandler Brossard. But of the dozen on the back, most were unknown to me: Julia Savarese; Arnold Grisman; P. Alelyunas; U. S. D. Quincey. Every issue I thumbed through had a fair number of unrecognized names, so I added a few of the less beat-up copies to my stack.

When I got them home and investigated further, I learned that I’d pretty much bought all the issues of Discovery that had ever been published: six. Perhaps inspired by New World Writing, which had begun the year before, Pocket Books had hired novelist Vance Bourjaily and critic John W. Aldridge as editors for what they confidently predicted would “at last fulfill the terms of the American writer’s perennial vision of a magazine: large audience, fair pay, and the freedom to write as he pleases.”

You know this was doomed.

Discovery would be a fist in the face of the Establishment. Its editors rejected “the cynical portrait of the American reader as a juvenile oaf;” rejected “the timorous assumptions that pressure groups can put an honest magazine out of business;” rejected “the kind of practicality which dictates that the contents of a large-circulation magazine must be inoffensively general….” In short, they rejected “the accumulated experience of a magazine-publishing trade….”

And in keeping with that spirit, Discovery no. 1 opens with a quintessential tale of rejecting the norms of society. In “Rockabye Baby,” by the unknown Arnold Grisman, the narrator goes to bed for a couple of days to get over a cold and then decides to stay there for good. His parents plea with him to get up, but he refuses. They try bribery, then badgering with a full case of relatives, and finally try simply ignoring him. But this beatnik Oblomov comes to realize that bed is the only place he can be himself:

I just lie here and it’s quiet and peaceful, only sometimes I wonder why I decided to stay in bed. I didn’t have any ideas like that when I got out of the Army, I thought I’d go out and get a job like anybody else. It wasn’t until I’d been in bed a couple of days that I realized how much trouble it is earning a living, all the running and pushing and shoving. And for what? To get old and tired and worried like my old man?

Ironically, the author of this dropout manifesto went on to become a senior executive in the J. Walter Thompson Agency, one of the biggest advertising firms on Madison Avenue.

Fortunately, things soon pick up from this forgettable start. Mailer contributes “The Dead Gook,” a grim and violent account of combat in the Philippines much in the flavor of The Naked and the Dead, and the first issue ends with William Styron’s short novel of military brutality, The Long March. A long selection (could it be otherwise?) from Marguerite Young’s massive novel, Miss Macintosh, My Darling also appears, along with “Happy Ending”, a rare short story by poet and novelist Kenneth Fearing. Later issues featured similar rare excursions into short fiction by poets Mary Swenson and Muriel Rukeyser as well as by critics Anatole Broyard and Roger Shattuck.

Although Discovery was never quite so revolutionary as Bourjaily claimed in his prefaces (Aldridge left after the first issue), there are some noteworthy contrarian pieces to be found. Discovery no. 2 includes the first story by outsider poet and novelist Gil Orlovitz, and other issues debuted the work of Gilbert Rogin, James Leo Herlihy, and Harold Brodkey. Discovery no. 3 includes the first excerpt from Alan Harrington’s satire of conformity, The Revelations of Doctor Modesto. Well back in Discovery no. 6, you find “The Perfectionist,” a terrific story by Joseph Slotkin that proves that any attempt to ignore the old truth that a new car begins to depreciate the moment it’s driven off the lot can only lead to madness:

There ought to be something in the world that could be kept safe and inviolate….

… And maybe if he and this machine kept moving, nothing could harm them–they could move like planets in their orbits, like meteors—

… Even dust could not settle o them, if they moved fast enough, away, and if anyone or even anything got in the way, they would go faster….

… Faster, and if this machine, that was a part of him now, got hungry, it could feed from his own blood, he felt it—

Slotkin published about a dozen stories, some in SF magazines, a few in literary magazines, then died in the 1960s, his work essentially forgotten. I am very tempted to attempt to search for the rest of his ouevre.

My favorite piece comes from Discovery no. 3. “Elegy on the Passing of Shepheard’s Hotel,” an uncategorizable piece by architecture critic Allan Temko, pictures the last moments of the famed Cairo hotel, which burned down in 1952:

Hello, there, this is the first speaking rather casually among the pillars of the lobby. Hello, Hello, I’m sitting on a sofa admiring these potted plants rather posh what, these potted plants. If anyone asks my name, tell them I’m the fire, I’m the fire. If anyone asks my name, I’m the fire. Hello hello. Hello what smashing carpets. If anyone asks my name, I’m the fire. Hello stucco, hello walls, hello plaster, hello floors. If anyone asks my name, tell them I’m the fire, the fire, the rather goodlooking chap on the sofa, old soul. Hello hello old soul hello old soul hello. Hello old soul here’s my card. I’m the fire and I’m in town my clothes are linen and my hat’s bamboo hello old soul here’s a drink for you. I’m the fire crepe-de-Chine hello old soul have a drink again.

I’d carry the quote on longer, but I suspect this is the sort of thing one either loves at first sight or hates outright. It’s unlike anything else I’m aware that Temko wrote and the closest thing to experimental fiction in the whole series.

By Discovery no. 6, Pocket Books tossed in the towel. Bourjaily’s preface claimed that it was only “the closing of our first series,” but if there’s a second series, it’s coming on the same train as Godot. The goal of publishing a ground-breaking literary magazine seems to have been doomed from the start. Bourjaily blamed the failure on three fundamental shortcomings: infrequency—it only came out twice a year; irregularity (an oxymoron for a periodical?)—twice a year didn’t mean every six months, apparently; and production—it was tough to be timely when it took six months after the manuscripts were ready to get the new issue to the shelves. Though Bourjaily was willing to admit, “We have failed; there is a phrase that no man likes to write,” he noted the successes, too: 70 stories, 89 poems, and a dozen pieces of non-fiction; seventeen writers published for the first time; sales as high as 150,000 copies for an issue.

I’d suggest that someone try collecting the best of Discovery into an anthology … but I’m afraid it would only end up on the same kind of shelf where I found my copies in the first place.

Discovery: An American Review, edited by Vance Bourjaily New York: Cardinal Editions by Pocket Books, 1953-1955

In his dictionary, Samuel Johnson defined craftsman as “”An artificer; a manufacturer; a mechanick.” When the first OED was published 150 years later, craftsman was still associated with assembly rather than creation: “A man who practices a handicraft; an artificer, artisan.” And even today, to refer to a writer as a craftsman is to assign him or her to the second class: better than a hack but not so fine as an artist.

One could argue, however, that would-be creators are better off studying the craftsmen than the artist. After all, if artists are few and craftsmen are many, then chances are better that new writers will end up as the latter. And some mastery of craft is required for most lasting works of art. But it only takes a look at a sample of academic syllabi to conclude that “craftsman” is not the label a writer would want if he wants to be remembered and studied in posterity.

Take the example of Martin Armstrong, for example. Armstrong published seven collections of short stories over the course of twenty years, and continued publishing stories, if less frequently, into the 1960s. If he gets much mention today, it’s due more to the fact that he married Conrad Aiken’s ex-wife Jessie and thereby became stepfather to noted children’s author Joan Aiken. None of his novels, poems, or short story collections are in print today and he only earns a mention in the most comprehensive encyclopedias of English literature.

Reviewing one of his collections, critic Norah Meade wrote that, “Mr. Armstrong is a good craftsman. There is a clear, unembellished directness about both his plots and their presentation which makes his characters, his scenes and his intentions readily recognizable at a glance. They are interesting to contemplate, too, and even pleasantly subtle.” You know, of course, there is a “But” coming: “… but he fails to make them significant, either emotionally or intellectually. If the emotional reaction that one gets from a work of art in, any medium is the real test of its value, then Mr. Armstrong is not an artist in the most exalted sense.”

As evidenced by his Selected Stories (1951), however, Armstrong was every bit as successful a craftsman of the short story as, say, Algernon Blackwood or W. W. Jacobs. I use these two comparisons deliberately, as neither ranks on the level of Chekhov, Hemingway, Cheever, or other artists of the short story, but are acknowledged as masters in its genre forms–ghost stories, horror stories, humorous stories, stories of the sea and sailors. Much of Armstrong’s work falls into these categories.

Although a number of Armstrong’s stories have appeared in anthologies of ghost stories, it would probably be more accurate to describe them as spectral stories. In them, his aim is not to spook the reader as much as to remind one how fine is the line between life and death. In the opening story of this collection, “The Inner Room”, for example, an old gentleman knocks upon the door of his neighbor’s cottage. Getting no answer, he cautiously steps in. He calls, but no one answers. He roams the house, looking for his neighbors, Mr. and Mrs. Riddle. In their bedroom, he sees something startling:

An old sheet was spread over the bed, completely covering it except for the discoloured pillow at the head, and under the sheet lay a dead body. He realized it in a flash. The dead face, sunk in the pillow, was the only uncovered part of it, but the long concave sweep from the bulge of the chest to the jutting feet was unmistakable.

A moment later, however, the sight is transformed:

Daylight is not a stable thing. Imperceptibly, second by second, it changes, and during the moments he had stood looking into the little room the light had altered, however slightly, and he saw quite clearly now that the bed was empty. The dead face was nothing more than stains in the ticking of the uncased pillow; the bulk of the thorax was a heap of folded bedding under the sheet.

Returning downstairs, he encounters Mrs. Riddle, and they sit in the kitchen for a brief conversation. As they talk, he has an unsettling feeling: “… whenever her eyes met his he was aware of a strangeness in her gaze and felt that they were talking across a gulf of unasked and unanswered questions.”

So was there a body? Was it Mr. Riddle’s? Or Mrs. Riddle’s? Or is the old gentleman himself the deceased? Armstrong leaves the reader to wonder.

Armstrong was also adept at the humorous story, which he could turn to both bitter and fantastic purposes. In “The Camberwell Beauty”, a passing comparison, made in conversation, between a young woman and a butterfly, turns out to have fatal results when a less than fully-witted butterfly collector overhears it. This and several other stories could easily have been raw material for an episode of Alfred Hitchcock Presents.

In the longest story of the collection, “Presence of Mind”, however, the fantastic side of Armstrong’s humor is best displayed. What starts off as nothing more than a solicitor’s impulsive decision to take a short cut through his neighbor’s private park spirals, through a series of absurd twists, into a nightmare as bizarre, yet comic, as Kafka’s traveling salesman turning into a giant cockroach. But it’s a very English nightmare, for the twists depend upon such names and places as Muggleton Spoffin, ]oshua Palimpsest, Calceolaria Grove, and Hobbleton-on-Sloke. And, unlike Gregor Samsa’s, the fate of Armstrong’s solicitor is, in the end, no worse that to move “the offices of Pellett, Pellett & Pellett to what he considered a more salubrious quarter of the town.”

If not, perhaps, a masterpiece, Martin Armstrong’s Selected Stories remain, many decades after their publication, durable and entertaining examples of solid mid-20th century short story craftsmanship. Which is no second class distinction.

Selected Stories, by Martin Armstrong London: Jonathan Cape, 1951

Covers from various editions of “Vertical and Horizontal” by Lillian Ross

Lillian Ross’s death at the venerable age of 99 has been widely noted, starting with Rebecca Mead’s obituary in Ross’s beloved The New Yorker. A number of her more successful books, including Portrait of Hemingway, have been reprinted in recent years and I suspect more will follow now. Less likely to be reissued is her one foray into fiction, Vertical and Horizontal (1963), which has been variously described as a novel or a collection of short stories.

Vertical and Horizontal portrays a world that some of us thought only existing in Woody Allen’s jokes: the classical Freudian psychoanalyst whose office on the Upper West Side, complete with couch, sees a recurring cast of patients whose treatment plays out, several times a week, for years at great expense and, perhaps, to some therapeutic benefit. In nine stories, all previously published in The New Yorker, Ross shows the handsome and much-sought-after bachelor, Dr. Spencer Fifield, and his mentor, Dr. Blauberman.

Fellow The New Yorker writer Susan Orlean called Ross “the consummate reporter, listener and observer,” and Vertical and Horizontal often shows off Ross’s remarkable ear for voices. As in this description of how people laugh at a cocktail party:

“You’ll love this! Tell him, Soph!”

“The latest on why people in Great Neck aren’t building any fallout shelters,” Sophie said.

“This’ll kill you!” Freisleben shouted.

“Because they figure they won’t need them,” Sophie said. “They figure if war comes the men will all be at their offices in New York, the women will all be out shopping, the kids will be in school. So why build? For the help?”

Everybody laughed the same kind of laugh, united and exact, a laugh that was divided clearly into two parts, two syllables–an “ah” that went uphill quickly moving into a knowing “hah.”

Critic Granville Hicks felt that “one could only judge” Vertical and Horizontal “harshly as a novel, whereas the stories as stories are fine,” and, indeed, two of the nine stories are only loosely connected with the rest. He described Fifield and Blauberman as walking compendia of “breezy attitudes, pseudo-clinical jargon and second-hand upmanship.” Playwright Edward Albee was even blunter: “Both men are near-monsters. They are hollow men; they are insensitive, small, mean, are amoral; they are climbers, these men, and it is their effect on each other, and on the people whose lives touch theirs, that is the core of the book.”

Yet, Albee wrote,

… the most astonishing thing about Vertical and Horizontal and the most extraordinary of Lillian Ross’s enormous gifts, is that we care. Spencer Fifield is, for lack of a better word, the hero of the book, and we truly care about this man, about this hollow, hopeless man, and we care because Miss Ross makes us see that he is helpless–the monster is victim, that the hopeless man cries out hopelessly, that the emptiness can never be filled, only circumscribed, that the most miserable of men, the man who knows he suffers but cannot grasp his suffering, cannot feel it, is not any less a human being, only a much sadder one.

It is Miss Ross’s compassion that surfaces. Without it, the book would be cold, cruel, and distasteful. With it, the book is a triumph.

Vertical and Horizontal, by Lillian Ross New York: Simon and Schuster, 1963

The dust jacket of Marquand’s Thirty Years provides this unimpressive description of the book’s contents: “A collection of stories, articles and essays which have not previously appeared in book form.” Plenty of such collections have been published, but perhaps none other has been so honest in acknowledging the flimsy rationale for its existence. Little, Brown, Marquand’s publisher, needed some content to put out “in book form.” So Marquand gathered up an assortment of material that hadn’t previous appeared in book form, and hey presto: a book. He was also honest enough to admit in his foreword that the book makes “no pretense at being a prize collection.”

In his introduction to the book, Clifton Fadiman calls Marquand “the best novelist of social comedy now [1954] at work in our country” and predicts that he will be considered the American Thackeray of the 20th century. Fadiman attributes Marquand’s success to his being “at once outsider and insider.” From the distance of over a half century later, I think it’s become clear that Marquand was far more insider than outsider. And despite recent attempts to prop up the place of rich East Cost white men as its pinnacle, it’s probably also safe to conclude that the role of Boston and New York clubmen in the American Establishment mostly of historical and anthropological interest today.

So why bother with Thirty Years? Well, unless you do find historical and anthropological interest in the heyday of the American Establishment, there isn’t any reason to. A fair amount of the book’s content is just as slapdash as the dust jacket’s disclaimer suggests. Is anyone still interested in Marquand’s stories from the Mulligatawny Club, a mocking version of the various yacht clubs–or societies for the preservation of the prejudices of rich retired white men–he encountered along the shores Long Island Sound? Or his stories of the “strenuous life” of rich young white men in East Coast private schools and Hahvuhd?

Marquand includes a long story, “The End Game,” which Herbert Mayes, editor at Good Housekeeping in the 1940s and 1950s, “once thought highly of.” In it, Marquand attempts to weave a narrative out of various threads he was familiar with: China in the years before the Communist revolution; the culture of American Army life; New York City in the 1940s; and chess. He notes that the story is roughly equal in length to Henry James’ Daisy Miller and that he found it a “dangerous” form to work with: “Such a fictional form can fall over itself more readily than any other I have ever known.” And so “The End Game” does.

The story is told by Henry Ide, an American businessman taking one of his periodic breaks in New York City from time working in trade in China. There is something I always find interesting about stories that grow out of characters who find themselves in such “in between times.” Wandering around midtown Manhattan one evening, he enters a penny arcade and finds in its basement a room where you can play chess or checkers against the house masters. Ide sits down to play chess with a scruffy-looking man who introduces himself as Joe, and over the course of the next few evenings, he draws out pieces of Joe’s story. Marquand proves an effective Scheherezade for most of the tale, drawing the reader along through its pages. And then he blows it. In his foreword, Marquand notes that many of his magazine stories “lack depth and significance, qualities popular periodicals customarily avoid, and almost inevitably they reach a happy ending.” Let’s just say that “The End Game” features one of the most abrupt and unbelievable happy endings ever written. And reason enough not to read it: I wish I hadn’t.

Most of Marquand’s serious novels are well over 400 pages long, and he was often accused of putting far more material into them than was necessary. And he committed the same sin with Thirty Years. Of its 466 pages, only the 120-some pages in the section “The Wars: Men and Places” are of more than passing interest, and fifty of those are taken up by the unsatisfying “The End Game.” What’s left are a handful of pieces–a mix of fiction and reporting–that stem from Marquand’s stints working for the War Department during World War Two.

The best of these, “Ascension Island,” is taken from a trip Marquand took in mid-1943 in the company of Brigadier General James S. Simmons, a former dean of the Harvard School of Public Health assigned to survey the potential for disease outbreaks at U. S. Army bases everywhere from the Caribbean and Brazil to North Africa, Sicily, the Middle East, India, and China. Simmons was given priority over air transport “that could bump off anyone except the President, the Secretaries of War and the Navy, and General Marshall and Admiral King.”

On the returning leg of the trip, Simmons and Marquand stopped at Ascension Island, a British protectorate in the middle of the South Atlantic that had been transformed into a refueling and patrol base for the U. S. military. There, he finds a resounding demonstration of the power of production and logistics that underlay the American effort in World War Two (and went on to constitute of core of what Eisenhower called “the military-industrial complex”, which is still on display at places like Camp Bondsteel in Kosovo and Bagram Airfield in Afghanistan):

Whenever I hear someone say that there is no unified national spirit and no culture in the United States, I think of our airports in Africa, India and the Pacific. It may be true that the Englishman far from home dresses for dinner and has his Number One Boy bring in his gin and tonic, but in all his centuries of colonizing he has never brought his civilization with him wholesale, as our armed forces have brought theirs in this war. Machine shops, plumbing, air conditioning, outdoor movies, ping-pong tables, boxing rings, Time, Newsweek, the weekly comics, Pocket Books, Gillette razors, Williams’ Aqua Velva, Rheingold beer, Johnson’s baby powder, Spam and Planters’ peanuts, all followed our army to the war for the edification of dark-skinned men in G-strings and for the shocked amazement of the French and British.

In this piece and in “Iwo Jima before H-Hour”, Marquand provides–perhaps unconsciously–some of the rare reporting from World War Two that stresses the extent to which the American effort depended on materiel and masses of personnel. It was an approach that would soon take over many other aspects of American life and push into obsolescence Marquand’s “timeless” world, where “The Boston pigeons are exactly the same as they were fifty years ago, and so are the old ladies and gentlemen who feed them, and so are the newspaper readers on the Common benches and the amorous couples who walk the shady paths.” Which is one reason why Thirty Years is now more of an anthropological artifact than a relevant work of literature.

With Charlottesville, Virginia and its statue of General Robert E. Lee in the news, it’s worth taking a moment to note a long-forgotten collection of short stories set in and around the town. John Bell Clayton’s The Strangers Were There (1957), published posthumously, earned mildly reviews and quickly disappeared, but it remains perhaps the most accurate portrait of the town and its people–at least as it stood in the late 1940s and early 1950s, on the brink of desegregation and the Civil Rights movement:

He got off the bus at Third Street, flipped up the collar of his topcoat and waited at the curb until the buss pulled away, expelling a bluish gush of exhaust fumes. Third Street ran diagonally to Main exactly four blocks from the Chesapeake and Ohio Railway Station to the Robert E. Lee Hotel. There, amid the leafless elm and buckeye trees, the commanding bronze figure of General Lee astride Traveller, his hat in his right hand, assailed by the flakes now, faced with that imperturbable gentle resignation not just south but the whole enigmatic contradiction that was and remained and would always be the South.

In Clayton’s Charlottesville, lightly disguised as “Colonial Springs,” the members of the Colonial Club–lawyers, businessmen, and officeholders–“ran everything, everywhere.” On Wednesdays, the young cadets of the Military Institute strolled downtown on their two hours of furlough. On Thursdays, the girls from the local Seminary walked the same sidewalks during their own short release. On Saturday afternoons, “crowds of fur-coated college girls and their escorts came back from football games” and took over the restaurants and drugstores. And on Saturday nights, the sidewalks were packed with country folk “come to swarm into the ten-cent stores, the hardware stores and notion stores, the Strand and the Colonial movie houses, to parade along the streets, to look and see, to get a little excited and possibly a little drunk, to give expression to something elemental.”

Born in Craigsville on the western slope of the Shenandoah Valley, Clayton attended university in Charlottesville and wrote for the town’s paper, The Daily Progress. From there he went on to work with Ernie Pyle in the Office of War Information’s San Francisco bureau during World War Two, then stayed on as an editor for the Chronicle.

John Bell ClaytonH. L. Mencken is said to have encouraged Clayton to try writing fiction, and his instinct proved right. The second story Clayton ever sold, “The White Circle” (included in The Strangers Were There), was selected as winner of the O. Henry Award first prize for 1947. By 1951, he was making a full-time living selling stories to Colliers, Mencken’s The American Mercury, and other leading magazines. He then published three novels in the next three years: Six Angels at My Back (1952) and Wait, Son, October is Near (1953), both set in rural Virginia; and Walk Toward the Rainbow (1954), set in San Francisco. California historian Kevin Starr wrote that Rainbow“abounds in ample and precise detail regarding the city.”

A similar eye for details shines throughout The Strangers Were There, which collects most of Clayton’s published stories, along with a number of unpublished pieces. Edited by Clayton’s widow, Martha Carmichael Clayton (sister of famed songwriter Hoagy Carmichael), the collection is organized into three sections: “The Town Clock,” whose stories are set in Charlottesville/Colonial Springs; “The Village Bells,” set in a hamlet perhaps not unlike Clayton’s hometown Craigsville; and “The Valley and the Mountains Beyond,” set in the Appalachian farm and hill country. Through these stories weave all the different peoples of the region:

There were the rich and the poor and the good and the indifferent. There was a man worth thirty million dollars, and another, a gaunt moonshiner from Jerkumtight Hollow, come on a Saturday night to look at the neon signs, who did not possess thirty. There were the housewives, the merchants, the lawyers, the schoolteachers, the filling-station attendants, the college girls, the golf players on one scale and the pool players on another. There were the churchgoers and the radio listeners and the ne’er-do-wells and the drinkers of cheap wine. On a Sunday night there were a dinner party at the country club and a tryst at a roadside tourist cabin and a prayer meeting at the Lutheran Church and three drunks telling lies in the men’s room of the bus depot and a Negro child dying f leukemia on Jitney Street and a young couple getting married and a thousand women preparing supper and an esthetic girl at the Seminary writing what she believed to be a sonnet or a song.

Clayton has a good feel for the fine and ignoble aspirations and deeds of the poor country people living in the hills around the town. They are not all two-dimensional stereotypes of simple but honest folk. Some are lazy, some are cowardly, some too much in love with their liquor, and some too obstinate to get out of their own way. But when they come down to hang around Main Street on a Saturday night, he can see that,

There was something raw and beautiful about it. Mountain country has a great somber loneliness. The winters are especially lonely. You live there in country like that. Your neighbors are few. Once in a while, in that great dead winter stillness, you hear a solitary crow cawing and you go to the window and watch its fugitive flight across a dull sky. The snow drifts high in the hollows there. And when the warmth of the summer finally does come, you feel the need to go out and be among people.

Some of Clayton’s best feel for details comes in the small, telling descriptions of his characters. There is a remarkable range to be found here: blowhards, saints, bigots, cowards, winners, and losers. “Little Woodrow” features a small-time crook who read too many old copies of The Police Gazette while in prison and comes home dressed up like a cartoon gangster–“like a figure in a wax museum suddenly become animate and determined to revive the role of an undersized villain in a threadbare melodrama everybody else had long since forgotten.” A large, lazy man lays on his bunk “in the state of dull, hippopotamus somnolence that passed for consciousness with him.” And he offers a priceless description of a nervous paregoric addict desperately seeking his next fix: “a series of expressions like tiny clowns chased one another across his eyes: jocularity, solemnity, mirth, concern, and finally something stricken, haunted, pursued.”

If the passages I’ve quoted make The Strangers Were There a bit honey-hued with nostalgia, I should caution that Clayton was too much of a newspaperman to see the world with anything but a sharp and skeptical eye. For all the love he may have felt for the Shenandoah country and its people, he did choose to leave it behind in his late twenties and never returned. And perhaps some of his reasoning is revealed in the story, “Incident at Chapman’s Switch,” about the shooting of a black man and his wife by a belligerent cop. The town sheriff and local judge quietly agreed to look the other way, and the story revolves around a discussion between a journalist and the editor of the town paper about how to write up the account. “Son,” the editor admonishes the journalist, “We are movin’ slowly and gradually to improve things and no matter how much you would like to you just can’t do it all at once.” This causes the writer to muse:

I am a part of it…. I was born into it and raised by it…. It is my native land and I love it, but there are times when I hate it. They’ve made me talk like them and look like them and even act like them…. But they can no longer make me think like them….

One can only hope that similar thoughts come to those people around Charlottesville and elsewhere who’ve been coming up with reasons to hold back the hands of time.

The Strangers Were There: Selected Stories by John Bell Clayton New York: The Macmillan Company, 1957

Robert Ley, head of the German Labour Front under Hitler, once said, “The only person in Germany who still leads a private life is the person who sleeps.” In The Third Reich of Dreams, Charlotte Beradt proves that Ley underestimated the power of his own regime over the people’s unconscious.

Working quietly and covertly, through an understandably informal network of acquaintances, journalist Charlotte Beradt began collecting accounts of dreams involving the Nazis soon after Hitler assumed power as Reich Chancellor in January 1933. Unable to work due to her association with the Communist Party, Beradt took numerous precautions to prevent the disclosure of her project, smuggling out bits and pieces of her notes in letters to friends and hiding them in her apartment. By the time she and her second husband, the lawyer and novelist Martin Beradt, fled Germany in 1939, she had recorded over 300 such accounts.

She collected and analyzed roughly fifty of these in the short book, Das Dritte Reich des Traums over twenty-five years later, in 1966. Translated into English, it was published, with an afterword by psychologist and concentration camp survivor Bruno Bettelheim, as The Third Reich of Dreams by Quadrangle Books in 1968. As Bettelheim writes, “This is not just a volume of dreams but one of cautionary tales. They warn us about how strong are the tendencies of the unconscious, when we are torn by anxieties, to believe in the omnipotent external power. It is this, our anxiety, on which the success of all totalitarian systems is built.”

Beradt was, of course, familiar with the works of Franz Kafka, and more than a few of the dreams she recounts are Kafka-esque nightmares:

In place of the street signs which had been abolished, posters had been set up on every corner, proclaiming in white letters on a black background the twenty words people were not allowed to say. The first was “Lord”–to be on the safe side I must have dreamt it in English. I don’t recall the following words and possibly didn’t even dream them, but the last one was “I.”

As in many of Kafka’s stories, Nazi power was perceived by Beradt’s dreamers as blind, irrational, omnipotent, and omnipresent. One doctor told her that he dreamed he was reading in his apartment when the walls around him suddenly disappeared. Suddenly, from the street outside, a loudspeaker boomed, “According to the decree of the 17th of this month on the Abolition of Walls….”

Other dreams evoke memories of Orwell’s 1984. Beradt tells of the dream of a man who had spoken with his brother on the telephone earlier that day. Having taken the precaution to praise Hitler in his conversation, he later let slip the remark that “Nothing gives me pleasure anymore.” Later, he told Beradt, he dreamt:

In the middle of the night the telephone rang. A dull voice said merely, “This is the Monitoring Office.” I knew immediately that my crime lay in what I had said about not finding pleasure in anything, and I found myself arguing my case, begging and pleading that this one time I be forgiven–please just don’t report anything this one time, don’t pass it on, please just forget it. The voice remained absolutely silent and then hung up without a word, leaving me in agonizing uncertainty.

The man recalled inventing numerous bureaucratic entities in his dreams, including the “Training Center for the Wall-Installation of Listening Devices,” and regulations such one “Prohibiting Residual Bourgeois Tendencies Among Municipal Employees.” As with the citizens of Orwell’s Airstrip One, Beradt’s dreamers lived “from habit that became instinct–in the assumption that every sound you made was overhead, and, except in darkness, every move scrutinized.”

In one dream Beradt collected, a woman saw Hitler being pulled from the Reichstag by airplane with a lasso, taken out over the North Sea, and dropped into the water. But among Beradt’s dreams, acts of resistance in dreams were exceptionally rare. Instead, the power of the regime to erase the sense of self was pervasive. One young woman recalled seeing banners with the slogan, “Public Interest Comes Before Self-Interest” fluttering in endless repetition along a street.

As Bettelheim writes, “Under a system of terror we must purge even our unconscious mind of any desire to fight back, or any belief that such rebellion can succeed, because therein alone lies safety.” In its most extreme form, the power of the Nazi regime over the unconscious prohibited any form of realism. One man told Beradt, “I dreamt that I no longer dream about anything but rectangles, triangles, and octagons….”

By far, the dreams themselves are the most interesting parts of The Third Reich of Dreams. I found much of Beradt’s commentary awkwardly written, and it would have been fascinating to learn more about her process of collecting the accounts and getting them out of Nazi Germany successfully. However, though long out of print, it remains an eloquent testimony to the psychological power of a totalitarian state. As theologian Paul Tillich wrote, reflecting on how slowly he came to realize the impact of Hitler’s control over the German people, “In my conscious time I felt that we could escape the worst, but my subconscious knew better.”

The Third Reich of Dreams, by Charlotte Beradt, translated from the German by Adriane Gottwald Chicago, Illinois: Quadrangle Books, 1968

Portrait of a Lady

In the light of dawn that filtered timidly through the window, she smoothed her dress carefully. One of her fingernails cleaned the others. She moistened her fingertips with saliva and smoothed her eyebrows. As she finished arranging her hair, she heard the jailers coming along the passage- way. In front of the interrogation room, remembering the pain, her legs trembled. Then they put a hood on her and she crossed the threshold. Inside was the same voice as the day before. The same footsteps as the day before came over to her chair, bringing the damp voice right up her ear. –Where were we yesterday, Miss Jimenez? –We were saying that you should remember you’re dealing with a lady, she said. A blow smashed into her face. She felt her jawbone crack. –Where were we, Miss Jimenez? –We were saying that you should remember you’re dealing with a lady, she said.

Relationships

He told me I was an alarmist and I told him he was blind. He told me that if that’s really how things were the government would know what to do and there was no cause for concern. I told him his position was typical of people who think all problems will be solved from above and I thought it was extremely irresponsible. He told me it was more irresponsible to go around mudslinging and spreading dissension. I told him it was despicable to lead people to slaughter with the white lie of an ideological project that was no longer valid. He told me that attitudes like mine would lead to catastrophe and one day we would be judged. I told him, finally, to go to hell. We never spoke to each other again. Yesterday I found out he was in the cell next to mine, and this morning I saw him when they let us out into the yard. We didn’t say hello, but I know he was looking at me. I looked at him, too, out of the comer of my eye. He appears to be in poor health, just like me.

Questioning

In November, after more than two months away from home, I have decided to risk a visit. It is early afternoon, the sun is shining, and there is almost no one in the streets. My mother opens the door and I enter quickly. The big house is empty; my father and brothers are still in prison. My mother has been alone all this time, and three days a week she goes to ask for news of them. As we cross the patio toward the kitchen she tells me she hopes they will be released in time for Christmas. Before stepping across the threshold she stops, takes my hand and asks me: Do you believe there is a God, my boy? I look at her, smaller and older now, and I think that this woman who looks at me with anxious eyes as if my answer were some kind of verdict, this woman, my mother, has gone to church every Sunday and religious holiday for over forty-five years. Then, seeing her like this, I who haven’t cried for a long, long time, embrace her without answering and cry shamelessly.

Our Father Who Art in Heaven

While the sergeant was interrogating his mother and sister, the captain took the child by the hand to the other room.

–Where is your father? he asked. –He’s in heaven, whispered the boy. –What’s that? Is he dead? asked the captain, surprised. –No, said the child. Every night he comes down from heaven to eat with us. The captain raised his eyes and discovered the little door in the ceiling

These brief stories by José Leandro Urbina come from his first collection, titled Las Malas Juntas in Spanish and, somewhat more pessimistically, Lost Causes in English. All of the stories in Lost Causes are set in a Chile suffering the repression that followed the assassination of Salvador Allende in the coup led by General Augusto Pinochet and the crack-down against Allende’s supporters. They are soaked in a spirit of fear and violence leavened with the grim sense of humor shown in the last above.

“These stories are set and developed in the initial days and months after the coup,” wrote fellow Chilean writer Beatriz García-Huidobro. “They are all of great power; It is evident that they were written in raw flesh, in painful absence and still without the nostalgia of the calming time, but still with the head cold enough to print them literary quality without falling into stereotypes or lamentations.” As Chilean editor Paulo Slachevsky told García-Huidobro, “It should be compulsory reading in our schools.”

Urbina was born in Santiago, Chile and studied at the National Institute and the University of Chile. After the General’s coup in 1974, he went into exile, first in Buenos Aires and then in Canada. He returned to Chile in 2005 but still refers to himself as a permanent exile.

The fact that Frances Bellerby’sSelected Stories has been out of print for over thirty years now is literally a case of insult being added to injury. Having damaged her spine while walking along the Lulworth Cliffs on the Dorset coast in 1930, Bellerby spent the remaining forty-five years of her life in pain and illness, yet managed to write short stories that are discussed alongside those of Katherine Mansfield, Sylvia Townsend Warner, Jean Rhys, and Elizabeth Bowen. Of the 40-plus writers profiled in David Malcolm’s recent survey, The British and Irish Short Story Handbook, only one–Bellerby–has none of her story collections currently in print.

Although no less a worthy than Robert Gittings contributed an illuminating biographical sketch for Bellerby’s Selected Poems (which is still in print, probably simply due to the fact that Amazon hasn’t sold out the 1994 printing), her life deserves a treatment similar to Jean Strouse’s classic biography of Alice James. For, like Alice James, Bellerby’s was an intense and creative spirit that burned within a body often inadequate to the task of sheltering it.

Born in Bristol, Bellerby was taught at home until the age of nine by her mother, a trained nurse who worked alongside her husband, an Anglo-Catholic cleric, in a mission among the working poor in the quarries, collieries, and factories outside the city. The family was, in Gittings’ words “exceptionally tight-knit and isolated socially.” Frances idolized her older brother, Jack, and his death in World War One was the first of a series of tragedies that left permanent imprints that can be seen clearly in her work.

Eager to join the fight after the outbreak of the war, Jack volunteered for the Coldstream Guards and was among the first of the so-called Kitchener’s Army to be sent to France. Visiting his family shortly before embarkation, Jack told his father that he expected to be killed in action, saying that he considered it a fate preferable to being wounded and sent home a permanent invalid. His prophecy proved true, as he was killed by an artillery shell on 8 August 1915 at “Windy Corner” near Givenchy. Decades later, in her story “The Carol”, his sister imagined her brother’s return to their home:

Observing a photograph which he did not remember, he went close to see what it was. It hung over the bed, and beneath it hung the old snapshot of James. To his amused surprise the photograph was of himself in uniform. Vaguely, he remembered having it taken. Funny old Mater to put that in my room! he thought, much entertained. Then, noticing written words at the foot of the photograph, he read: “Killed in Action at Givenchy, Aged i8, August 8th, 1915.” This gave him a tremendous shock.

So when his mother, hearing, as she often did, the softly whistled carol, ran upstairs and opened the door to look in, the room was, as usual, empty.

“Time is, perhaps, little more than a flimsy curtain, which under the least pressure of intensity gives way.” As Jeremy Hooker writes in his introduction to Selected Stories, this opening sentence from her story, “Soft and Fair”, “serves well to indicate the nature of Frances Bellerby’s short stories.”

She did try, at first, to break free from her family and painful memories. After attending a Catholic girls’ boarding school with the financial assistance of a family friend and a short stint writing for several newspapers in Bristol, she was hired by The Bristol Times and Mirror and sent to work in London as their drama critic. There she met and married John Rotherford Bellerby, a Fellow of Caius College, Cambridge studying conditions among workers in the East End. She supported her husband as she had seen her mother do, and her first books were, in Gittings’ estimation, little more than Sunday school tracts.

Then came her accident. Walking along the cliffside with her husband and another couple, Frances ran ahead in a burst of enthusiasm, slipped, and landed very awkwardly. She assured John that it was nothing and he and the other man walked on. When the other woman approached, however, she saw Frances dragging herself forward with only her hands, her face twisted in agony. Even after being helped back to their lodgings, she insisted it was only a passing injury. She wasn’t helped by her own tendency to dismiss the seriousness of what had happened, but, as Gittings puts it, “the 1930s were not a good time for the treatment of spinal injury.” And she did, somehow, realize that this was more than just a passing matter. As she later wrote in a notebook, when she found herself on the ground after the fall, “I saw … tall golden letters: THIS IS FOR EVER.”

From that point forward, she found much of the life she had become accustomed to impossible. Walking was difficult and soon required the help of a cane or crutches. She tried a variety of braces to support her back, none of them very effective. When she did consult a physician, she was likely to return home in worse pain from their manipulations. She railed against her plight: “I HATE my spine,” she wrote in her diary. “I am going to write this here because I want it out of me. I HATE my spine…. I am NEVER used to it. I NEVER shall be … I NEVER shall be reconciled to this.”

Adding to her difficulties was the news of her mother’s suicide in 1932. Having suffered from depression almost continuously since her son’s death, she waited one day for her husband to leave their house, then went up to her bedroom, shut the window and plugged up the door and opened up the gas cock. “I suffered and broke and died with her,” Frances later wrote of the impact of her mother’s death.

Her situation also strained her relationship with John Bellerby. She found living in a busy place like London or Cambridge, where he needed to work, increasingly difficult, and she began spending more and more of her time in isolated cottages in the countryside. They separated permanently in 1942. Although this added to her practical challenges, she also found that being away from him freed creative energies she had not experienced since the early days of their marriage. While she had managed to write and publish enough stories for her first collection, Come to an End (1939), before the separation, she now became to write poetry and fiction in earnest.

Writing provided a way for her to channel some of her frustrations. As Sabine Coelsch-Foisner writes in her article, “Finding a Voice: Women Writing the Short Story (to 1945),” included in A Companion to the British and Irish Short Story, “Springing from her own tragic life, Bellerby’s stories focus on exceptional experiences and events too large or formidable to understand: the traumas of war, pain, and bereavement.” Understanding something of her life’s story undoubtedly helps a reader see that Bellerby often transfers painful episodes from it into the experiences of her characters–as in the example from “The Carol” above.

She mustered the energy to write an extended work of fiction, the novel Hath the Rain a Father (1946), but her talent was shown to best advantage at a smaller scale. Some of Bellerby’s best stories deal with situations seen through a child’s eyes and with a child’s sensibility. She had a remarkable understanding of the fragility of a child’s world. As she writes in “The Little Lamps”,

A child is so strong. A child is the strongest creature on earth. A child is integrated, is its own. A child needs no loved one to share the experiencing of beauty, yet has always the underlying certainty that sharing would be easily achieved if need arose: that there is, in fact, no involuntary aloneness.

For some people, growing-up is largely a matter of the death of this certainty. A sudden death, perhaps, or perhaps a very lingering affair.

For Bellerby herself, her brother Jack’s death was undoubtedly such a death of certainty. For her characters, however, it may be merely the suspicion that some stable element in their world is about to break up. In “Pre-War”, a brother and sister are at loose ends, left to play by themselves in their house: “Life had suddenly become a stranger. For three days their mother had been shut away from them in her bedroom.” In “The Cut Finger”, a family suddenly goes to the seaside for what the children are told is a holiday, so that their father can rest. Coming back to their rooms after playing on the beach, the little girl sees her mother crying, and somehow realizes the tragic weight that lies behind this moment:

How could such a thing be? What frightful hurt had brought it about? Her mother! The one person to whom Judith had always gone, by right, without shame or doubt, whenever she herself had been broken to tears. This cherishing omnipotence writhing face-downwards on a bed, sobbing into the pillow–so that the whole world, yes, the whole established world, had been blown sky-high and come hurtling down in fragments anyhow, anywhere.

Frances Bellerby, 1950Most of her work during the 1940s was devoted to short stories. Bellerby published two further collections of stories, The Acorn and The Cup (1948) and A Breathless Child (1952). Perhaps because of her diminishing strength from dealing with her spinal injury, however, she turned increasingly to the more concentrated form of poetry. Her first collection, Plash Mill and Other Poems, named after the Devon cottage where she spend much of the decade, was published in 1946, and The Brightening Cloud in 1949. By the end of the 1940s her poems began to be read on a regular basis on BBC radio, selected by presenter Charles Causley.

With the start of the new decade, however, the fragility of her own situation only increased. In 1950, she was diagnosed with cancer in both breasts. She was given “perhaps a year, perhaps about five months” to live. A double mastectomy, followed by radiation treatment, suspended this sentence for some years, but she continued to suffer from respiratory problems and other frequent illnesses. Their impacts can be seen in the titles of poems from her next collection, The Stone Angel and the Stone Man, published in 1957: “Convalescence,” “Hospital Car,” “Chronic Ward,” “Dying in June”. She was increasingly confined to the little cottage in Cornwall she had bought, and eventually lost the ability to use a typewriter. She tried to direct her waning energies toward an autobiography, but gave up the effort after working on it for over fifteen years. She confided to her diary: “Desolate. Desolate. Desolate. Frightened, broken, alone.”

Yet the memory of her family traumas was never far away. When, in 1970, with the help of a friend, the publisher Alan Clodd, the first edition of her Selected Poems was released by Enitharmon Press, she dedicated the book “To the brief and everlasting life of my brother”. Clodd and others also helped her gain a Civil List pension in 1973, but it did little to relieve her situation. After years of remission, her cancer returned and she died just short of the age of 75 in July 1975. The following poem serves as a fitting epitaph for this woman whose life and work were filled with such pain and struggle:

Before the Light Fades

Before the light fades Someone should be found to explain With sufficient wisdom and patience Everything I have seen.

And before owl and moth Shock by remembered flight The deep, tombed, silence Of the world of night,

There should appear some linguist Hot-blooded as a bird, To translate with a single sentence Everything I have heard.

In her preface to the collection, Mannin writes that she “sought to give the book as definite a ‘shape’ as a novel.” To that end, she collects stories set in the years leading up to the outbreak of World War Two in the first section, “Before the Deluge”; in the second section, “Thunder in Spain”, she includes four stories centered upon the defeat, flight, and exile to England of an actual group of Spanish pro-Republican radicals, including Joaquin Delso de Miguel, to whom she dedicated the book; and in the final section, “The Deluge”, she depicts a Europe in the midst of a war which, at the time she was writing, there was no apparent end.

While a few of the stories in No More Mimosa are run-of-the-mill magazine fodder–more O. Henry than Chekhov, and forgotten minutes after finishing them–the collection could, with a bit of editing, serve as a striking record of its time. Mannin is an interesting case. Hugely prolific, she managed to sell well throughout her long career. The stories in this collection first appeared in such mainstream publications as Good Housekeeping, Nursery World, and The Evening Standard. At the same time, she was fierce and unapologetic in her politics and causes, supporting the Anarchists in Spain and refusing to register for national service in World War Two. In this book, these contrasts improve its interest and variety, as Mannin portrays a wider range of classes and circumstances than one is likely to find in any collection from one of her contemporaries.

With the opening story, “Mimosas for Remembrance,” she signals a clear awareness–even writing some years before the start of the war–that storm clouds were gathering:

The light was fading and the room was filled with a soft greyness, upon which the scent of mimosa floated like a dream in a sleep. A dream of spring; of other springs, in other worlds, long ago. There had been mimosa lighting the greyness of the olive-groves above Lake Como. And mimosa woods on the hillsides of Cavalière….

“Europe is doomed and damned,” one character predicts. “We’ll to the woods no more–the mimosas are all gone! It’s probably the last European spring in which they’ll not spread their branches above machine-gun nests, or be mown down before tanks.” He sums up the world they see nearing its end:

… the lives we lived sitting on cafe-terraces, drinking green wine under the chestnut trees in little Tyrolean towns, running in and out of art galleries in Paris, Rome, Florence, Vienna, all the lying in the sun we did on little plages in the South of France, the Balearic Islands–the painting, the writing, the love-affairs, the wild parties, the scandals–all lived out to a background of bars and cafes, olive-groves, mimosa woods, and rapides with romantic names–the Rome Express, the Flèche D’Or, the Blue Train, and trains that pulled into Paris from Istanbul, Belgrade, Wien, Napoli….

And the tales Mannin tells in this first section are utterly cosmopolitan in character. Mostly under five pages long, the sixteen stories comprising “Before the Deluge” are scattered all over the map: Buenos Aires, Algiers, Marseille, Sarajevo, Ragusa, Jerusalem, Montparnasse, and Moscow. And her people come from all over the social spectrum: English spinsters, French nobility, a Palestinian nationalist, an ambitious Algerian wharf-rat, a down-on-his-heels Eton graduate making his way around the Balkans as a member of a sad nightclub dance act. Some of them are still coping with the aftermath of the last war. Of a Russian family in Paris, Mannin writes, “They fled across Europe and into France, which is something which is said in a few words, but which in living meant months and years of semi-starvation in all the capitals of Eastern Europe.”

Ironically, while Mannin’s characters are almost all great travelers, one can’t help but notice after a few stories that few of them are actually heading somewhere in their lives. The English dancer changes partners in the course of his story, but this make no real difference: “Between the time of their arrival and opening they had to find rooms, find the bar, rehearse. Well, it wouldn’t be the first time. Nor the last.” Even in the rare case, as in “Algiers”, where the wharf-rat manages to polish up his act, make enough money to pass himself off as wealthy (for a few days, at least), and insinuate himself into the fringe of Paris society, the final destination of his climb up the ladder proves a dead end and, soon enough, he finds himself back on the waterfront. For all its travel opportunities, Mannin’s world of the thirties seems rather claustrophobic.

In the middle section, “Thunder in Spain,” her characters don’t lack for a cause or direction to their lives, but this proves to matter little when you find yourself on the losing side. She follows a group of five pro-Republican organizers fleeing first from Madrid to the temporary capitol, Valencia, and then to the small port of Gancia. In “The Last Night in Gancia”, which Mannin describes as “historic fact”, they spend their last hours on Spanish soil in a tense limbo, wondering whether they would be caught and executed by the Nationalists or rescued by the French or British warships circling offshore. When at last the business of embarkation begins,

[A] great motley crowd of men, and a few women, with pale strained faces, some of them with their eyes dark with misery or wet with tears because they were leaving behind everything they held dear, those they loved and might never see again, and with them the grey ashes of their dreams, some with their eyes alight with hope; for some the embarkation was tragedy, for others, in spite of everything, adventure; for some it was the end of everything, for others merely the end of a chapter.

For the revolutionaries, however, as Mannin shows in “Refugees”, their next chapter is another, duller form of limbo:

After all, when you have nothing whatsoever to do, from the time you get up, late, in the morning, till the time you go to bed in the small hours of the following morning, it does not matter how you get through the time. Time flowed over us in a grey stream, empty, endless, unmeasured–we who had lived such intense, crowded lives. Now we were lost in a vacuum of futility. We had endless political discussions that developed into impassioned arguments, voices raised, fists banged on the table, and usually someone sweeping out; we held endless futile political post-mortems. We played chess; we wrote letters, and were eaten out and in with longing for letters, for news, that never came; we made fitful attempts at learning English; we struggled with the grey labyrinth of London; we made a good deal of coffee, and we spent a good deal of our time lying on our beds and looking at the high dirty ceiling, our thoughts flowing endlessly backward.

When the war does come, however, it doesn’t prove to offer anything better in the way of a direction for most of the characters Mannin portrays. The Army comes to the rescue of a couple whose dream of running a quaint little hotel in the country by buying them out–but financial relief is a poor second best to actually seeing their dream succeed. An actress and an escaped prisoner spend a night together discovering just how well human nature can let down our hopes. A chorus girl struggling to find work gets played by a con artist, only to be dragged out of the rubble after a German bomb hits their bar. And two sets of evacuees find themselves and their hosts disappointed, then unhappy, then disgruntled and resentful. Patriotism turns out to be a pretty weak force in the face of people who simply dislike each other intensely. Mannin could not have foreseen it, but she was doing a good job of preparing her characters for the Cold War to come.

If this makes No More Mimosa sound like grim fare, I must point out that Mannin is a solid and professional story teller. She has a remarkably talent for sketching in enough details for the reader to accept the story’s setting and principals in a matter of a page or two. I often thought of Maugham while reading the book–that same sense of a writer saying to the reader, “Now, I’m going to tell you a story, and I know what I’m doing, so your job is just to read along. Shall we?” However, Mannin’s characters are, in general, a bit rougher around the edges–you wouldn’t be surprised to see some dirt under their fingernails or a bit of food in their teeth. Come to think of it, they’re a lot more like the inhabitants of Orwell’s fiction. I don’t want to oversell the book, however–it’s not “Rain” meets Keep the Aspidistra Flying. But for anyone looking for an antidote to nostalgia for the thirties and war years, No More Mimosa offers a convincing demonstration that the West had its share of grim, grey lives well before anyone came up with the phrase “Iron Curtain.”

I’ve never found anything written by George P. Elliott entirely satisfying–yet I keep coming back to his work.

Considered a rising talent in the 1950s, when his short stories such as “The NRACP” and “Among the Dangs” began appearing in anthologies and to be mentioned as some of the more significant works in then-contemporary American writing, Elliott was solidly placed in the literary mainstream by the 1960s, when his name often appeared alongside those of Bellow, Heller, and Roth; beginning to be seen as marginal by the start of the 1970s; and largely forgotten by the time he died at age 62 in 1980. His books are all out of print today, and he doesn’t even have a Wikipedia entry (yet).

What happened? I think a look at his best-received book, the short story collection Among the Dangs (1961), can explain a lot.

Among the Dangs includes several stories that stand out quite starkly from most of what was being published at the time. In the title story, a black American academic and anthropologist studies and then becomes a member of a violent Amazonian tribe, the Dangs, only to flee from them in the end, in fear that he was on the brink of reverting to their more instinctual and primitive level. I remember thinking it a remarkable and memorable story when I first came across it in some anthology of contemporary short stories back in college, and that memory was the main reason I but the book on my “to read” list for this year.

Nearly forty years later, the impression left by “Among the Dangs” is not nearly so powerful. Aside from the novelty factor of a white writer adopting the voice and perspective of a black man, there is nothing revealed about the narrator that gives any sense that this was anything but an arbitrary choice by the writer. The color of his skin could just as easily have been purple for all it adds to the story. Elliott later wrote that, “My work in composing ‘Among the Dangs’ was made the easier because I was so little interested in all those aspects of the world which are recognizably arranged in a realistic story,” and this gets to one of the first problems with his fiction.

When I dug back through contemporary reviews of Among the Dangs, one theme jumped out as a constant. The Kirkus Reviews reviewer described Elliott’s outlook as “disinterested and detached. Critic Benjamin DeMott said that Elliott wrote with a “mild irony and a certain detachment from his characters.” Another wrote that Elliott “… entertains and interests us and at the same time puzzles us–puzzles me, perhaps not you–for he conveys a sense of great moral and emotional earnestness without making clear what more or what emotion he wants us to feel.” And another simply confessed defeat in the face of Elliott’s detachment: “I don’t know what George P. Elliott thinks of the people in his stories.”

Elliott’s most reprinted story also appears in Among the Dangs. Originally published in the Hudson Review in 1949, “The NRACP” is such a dryily-written satire that more than a few readers miss the joke entirely. NRACP standa for “National Relocation Authority: Colored Persons,” and the story postulates an America in which a government-run program is quietly carrying out the genocide of its black citizens. In some ways, it’s a fictional demonstration of the old saying about how to boil a frog (i.e., very slowly). Much of the story deals more with the personal dilemma of the protagonist, a relatively hapless guy torn between staying with his wife or having a fling with his younger and more attractive secretary. Only vaguely does the reader come to understand that all around, the blacks are being taken away to camps and disappearing from the streets. And Elliott’s protagonist is even slower to catch on.

A fair number of readers were shocked by the story when it first came out, and as the civil rights movement gained momentum, the violence of the story’s premise came to seem even more dramatic. Elliott was considered coarse and insensitive by liberals and viewed as mocking the beliefs of conservatives. Elliott himself said that it was the first story he ever sold that made him enough money to go out to dinner on: “So I invited Josephine Miles and some other friends out, but Josephine wouldn’t go. She would not dine on that story because she thought it was so bad, so wrong.” The America of “The NRACP” is one increasingly split between the winners and the losers–or, as Elliott puts it, “Those who get it and those who dish it out.” Of all the stories in this collection, it’s certainly the most relevant for readers in today’s America, where this sort of divide is becoming more and more apparent.

A third story, “Faq'” (a title likely to be misunderstood by most readers today), evokes the work of Borges, Kafka, and other metaphysical writers. In it, an American geographer sees a remote settlement in the Atlas mountains of Morocco while flying on an Army Air Corps mission and vows to visit and study it after the war. What he finds is a long-isolated civilization where the men spend all day worshipping numbers while the women–kept at a rough ratio of three to every male to ensure a ready workforce. The people of Faq’ have come to believe that their existence depends upon continuing the communal task of counting: “By hypothesis the highest nameable number is as far from the end as one is, and there is no end to counting. It is the function of Faq’ to test this hypothesis in the only statistically verifiable fashion, actually by counting forever.”

As with the anthropologist of “Among the Dangs,” however, the American ultimately flees and returns to the world he is more familiar with. He is determined “never to go there again, for he is sure that though he does not know what is right for men ordered perfection is wrong, and that though suffering is bad the lack of suffering is much worse.”

This last statement could easily serve as Elliott’s motto. The anthropologist gains a place among the Dangs in part through his prowess as a storyteller, and the primary story he tells them is that of the life of Christ. While not an overtly religious writer, Christian themes–particularly those of human fallibility, of sin, of the need for repentance, and of the possibility of forgiveness–are easily found throughout Elliott’s work. And he always had a moralist’s disdain for the notion that seeking freedom or pleasure would ultimately change man’s situation. He would have agreed with wittgenstein: “I don’t know why we are here, but I’m pretty sure that it is not in order to enjoy ourselves.” As Elliott wrote in a piece in The Nation titled, “The Happiness Rat Race”, “To be sure, having the kind of fun you have to have doesn’t hurt as much as finding out what’s really wrong and doing something about it. But finally, rather than that grinning stupefaction, I’d prefer to hurt.”

Human failure is in many ways Elliott’s favorite subject. Although one critic wrote that the story, “A Family Matter”, “sounds as if it had been written as a contribution to a seminar on the novels of Miss Compton-Burnett”–and Elliott himself later admitted that he had written it as an experiment after reading several of Compton-Burnett’s novels. “That is, I felt like writing a story in which the plot problem is announced at the outset, developed in clearly marked stages, and resolved near the end, and in which all the characters are connected with the same family and speak concisely and hyperconsciously.”

In the story, an elderly millionaire returns to the place where his ex-wives and children live, in part to try to understand what led to his becoming so distant and detached from them. In the end, neither he, the ex-wives, the children, nor the reader is any more the wiser–and yet, it’s clear that the effort was both necessary and useful. Elliott was a firm believer in the necessity of trying to come to grips with the world we live in–even if that effort is likely to prove unsuccessful: “A good deal of fiction derives from the writer’s impulse to understand or cause the reader to understand the true nature of part of the world. Whether he does it for himself primarily or for the readers he wants to affect does not matter as much as that he is pressed by the need to understand the world, to order experience.”

I think this is what continues to interest me in his work: even when it’s not entirely satisfying, it always reveals an individual making a deep and serious effort to understand. As someone has probably already said, it’s probably more important to have the right questions than to have the right answers.

Though Elliott published four novels during his life, all were consistently judged interesting but ultimately unsuccessful. Many reviewers remarked that his short fiction was better than his novels. And reviewing his second story collection, An Hour of Last Things, William Peden judged that Elliott was “As much a thoughtful essayist as story-teller.” But even in his essays, Elliott could, at times, become somewhat strident and brittle. However, as Phillip Stambovsky writes in The Columbia Companion to the Twentieth-Century American Short Story, a few of these essays, mostly autobiographical, “are among the most original and impressive of his literary productions”: “A Brown Fountain Pen” and “A Piece of Lettuce” from A Piece of Lettuce; “Never Nothing” from Conversions; “Snarls of Beauty” from The George P. Elliott Reader. “Whatever other qualities this unnamed, unshaped age we are entering may have,” Elliott once wrote, “I hope that it will realize it needs art in order to live.” I will have to return to these essays next year, when I plan to focus on autobiographical works, to give Elliott’s art the appreciation it deserves, in its own earnest if never fully successful way.

Among the Dangs and Other Stories, by George P. Elliott New York: Holt, Rinehart and Winston, 1961

I recently had the chance to travel to Estonia for the first time, to attend a conference in Tallinn. In the spirit of this trip, then, I took along a copy of The Conspiracy, a collection of stories by one of the leading Estonian writers of the last 50 years, Jaan Kross. I was thoroughly impressed by the people, sights, food, and energy of life in Estonia, and once you’ve read a little of the country’s history, you realize how long and hard they have had to struggle to establish–and reestablish–their independence and to maintain their culture and way of life in the 50+ years they spent under Nazi and Soviet control.

The Conspiracy offers a particularly good fictional introduction to what the Estonians endured during that time. Kross, who was born in 1920, not long after Estonia declared its independence, reached adulthood at about the time when that independence was crushed–first by Soviets (1940-1941, starting with the Molotov-Ribbentrop Pact and ending soon after the German invasion of Russia), then by the Germans (1941-1944), and then again by the Soviets, who settled in for over forty years. The stories in The Conspiracy trace this history through episodes in the life of Kross’ fictional counterpart, Peeter Mirk.

The first story, “The Wound”, is set in the time around the start of the German invasion of Poland, when Germany offered ethnic Germans in the Baltic republics the opportunity to move into settlements in recently-conquered Poland and begin the process of establishing Hitler’s precious lebensraum. Peeter Mirk’s first love, a neighbor and fellow student in Tartu University, belongs to a family with German connections who decides to accept the offer. At a farewell party, feelings of nostalgia overtake the two young people and they decide in a moment of haste to run away and get married. As they run from the restaurant through rainy streets, however, she slips and falls, getting a severe cut on her leg, forcing them to stop and go back. Their impulsive act leads, in the end, to just the first of many casualties suffered by people in Peeter’s life over the next twenty years.

Kross was able to complete law school and stay on as a member of faculty for the first years of German occupation, in part through a series of medical dodges, avoiding the “lead piping” into which many Estonian men were channeled:

And the lead pipes, as already mentioned above, were, according to these notices, two in number. One of them spewed forth its load on to the front via the notorious Bad-Tölz training camp, that is to say, via southern Bavaria after a period of three to four months. The other pipe did the same, after a couple of weeks of basic drill at the Kohila or Elva training camps. Those spewed out of the first pipe wore SS uniforms and were told that they constituted the elite of Neues Europa and of the Estonian people. The second pipe spat forth so-called “Volunteer Assistants”, who were in fact required to stay in the frontier zone in the same section as the prisoners of war stationed there.

But some of Kross’s friends were not so lucky. Even those who tried to escape to Sweden or Finland took extraordinary risks, as is illustrated in the stories “Lead Piping” and “The Stahl Grammar.” And Kross himself ended up being arrested by the Germans in 1944, only to be set free from a Tallinn prison by the first wave of Soviet troops to retake the city. Two years later, however, he was again arrested, this time on the charge of being a “bourgeois recidivist”, and was sent to the Vorkutlag complex of camps. He spent the next eight years in the Gulag, finally returning to Estonia in 1954.

Jaan Kross in a light-hearted mood, 1973Fortunately for Kross and his readers, he was possessed of a spirit of extraordinary resilience and good humor. He was lucky, he once remarked in an interview for the Guardian, that he was imprisoned by the Soviets and not the Germans: “Such was their Ordnungsliebe –passion for order–and their savage discipline. The Soviets at least had their saving virtues of inefficiency and incompetence.” He had an intense interest in other people–indeed, at a few points in his stories he pulls himself up with a remark such as, “But why have I begun to describe him in such detail?”

And Kross works details into his writing with all his senses. The reader gets the sense not just of how things looked, but also weather, textures, sounds, and, most of all, smells:

I had keys to Uncle’s apartment. We climbed the stairs with their faint smell of polish and stepped into the hall of the apartment. For some reason (or perhaps because we entered without switching on the light) it was the smells of the apartment which impinged on my consciousness on that occasion: the faint smell of ether emanating from Uncle’s surgery into the hall and its extension which served as a waiting room; the faint smell of naphthalene which arose from the Biedermeier furniture in the living room, the faint smell of cooking oil from the dining room through which we groped our way and where rye flour pancakes fried in a drop of sunflower oil, obtained goodness knows where, had been eaten; the fragrance of Soir de Paris which seeped through his wife’s door which stood ajar; the smell of the liquor store from the chink in the bathroom door, though this could have been mere imagination, since Uncle stored his several-liter stock of spirits in large flagons which stood in the bath which was half-filled with water as a precaution against fire and air raids; and then the comically coarse yet subtle whiff of tobacco from Uncle’s own room (for he had, for donkeys’ years, been smoking a weed grown by some patient or other and prepared with rose oil in his straight-stemmed pipe).

After Kross returned to Estonia, he realized that the only way he could survive was to write things that would not be closely examined for possible counter-revolutionary themes. So he became a historical novelist, carefully disguising his criticism of Soviet rule and calls for Estonian independence through characters and situations from hundreds of years earlier. Through this work and teaching, he was able to survive to see Estonia’s return to independence in 1991, and even to sit in its first Parliament and participate in writing the country’s new constitution. He died in 2007.

Four of Kross’ books, including his best-regarded novel, The Czar’s Madman, were translated into English, by Anselm Hollo and Eric Dickens, and published by Harvill in the mid-1990s, and a further novel featuring Peeter Mirk, Treading Air, was issued in 2003. Most of these are now out of print, but recently, Quercus Publishing began releasing an English translation of his most popular work in Estonia, a historical trilogy, Between Three Plagues, starting with the first volume, The Ropemaker.

In a piece for the Estonian Literary Magazine, Kross once wrote of the disadvantages and benefits of being a writer from a small, much-invaded country. Starting out as a writer at perhaps the worst time in his country’s history, he became “not only a writer of a small nation, but a writer who had lost his country.” When, after fifty years’ wait, he had the chance to reclaim his country, he was burdened

… with only the normal troubles of the literature of a small nation: linguistic isolation, the indifference with which the world mostly treats us and our helpless resignation in the face of it -instead of trying to fight it with every possible means within the limits of good taste. Most important of all is the sense of proportion: the amount of time for all sorts of meetings where these means are being discussed, should be reasonable. The rest of the time a writer should stay at home–the smaller the nation of the writer, the more he ought to stay at home, at his desk, writing truly remarkable books.

When Kross died in 2007, Estonian President Toomas Hendrik Ilves saluted him in a funeral service that was broadcast live on Estonian State Television: “He was one of those who kept fresh the spirits of the people and made us ready to take the opportunity of restoring Estonia’s independence.”

The Conspiracy and Other Stories, by Jaan Kross London: Harvill Press, 1995

In a year such as 1947, a Russian-born Estonian was only a zemlyak, a compatriot of mine, to a most problematical degree. Such trusties with their partly, or wholly, unidiomatic phrases, their doubting and distrustful eyes who had, since the war, seeped into the university, from the dean of faculty right down to posts among the teaching staff and special departments, and in everyday life from executive committee and militia down to the local apartment block administration, had instilled in me a feeling which was as mixed as what must have been going on inside them themselves: pity and watchfulness.

At any rate, we home-grown Estonians and Russian-born Estonians had lived such different lives on our respective sides of the border that our mutual alienation had become inevitable. On both sides of the border irrational things had been said and printed about the other side. In Estonia, hungry children were supposed to go about scavenging for food in dustbins. While in Russia, claimed the Estonian daily Paevaleht in, for instance, 1937, the year of the great show trials, it had emerged that men who had been the vanguard of revolution only fifteen years before were now infiltrators, traitors and foreign agents who had with their bare hands mixed broken glass into the butter sold to the proletariat…

Ten years earlier, nothing but such news items were to be found about Russia in our papers. And never a whisper of protest or denial from their side of the border, something which would have been quite natural in the circumstances, had these proved to be lies. So you were bound to conclude: there must be some truth in the matter. And this then led one to ask: which side had gone mad over there, the courts or those who appeared before them? And to answer without hesitation: the courts. For if the courts had been normal and the accused, therefore, mad, then the mass-executions of those accused would not have been able to take place. And Russia’s Estonians lived right in the thick of this madness, in this oppressive atmosphere of mistrust which resulted from this madness, which Russia allowed especially to afflict the minorities on her western borders.

So that people who were used to all this seemed, according to my first impression, and soon a priori, more problematical, evasive, shifty-eyed and ill-defined than others. Especially if they tried (and as far as I could observe, they always tried) to justify that what had been, and was still occurring in their country was right and proper in itself; unequivocally right and proper that is, according to the conversations of uneducated people, but to a more problematic degree according to those arrested – well, anyway, right and proper, not always in that cosy petit-bourgeois sense of the expression, but in a nobler and more general sense.

from “The Ashtray”, in The Conspiracy and Other Stories, by Jaan Kross (1995)

In “The Fall”, the first story in Virgilio Piñera’s collection, Cold Tales (Cuentos Frios), the leader of two mountaineers climbing a peak slips and falls. The fall pulls his partner down after him, and the two plummet, topsy-turvy, down the mountainside, colliding into rocky outcrops and losing limbs along the way. By the end, all that is left is the leader’s beard and his partner’s eyes: “But I couldn’t complain; my eyes landed safe and sound on the grassy plain and could see, a little ways off, the beautiful gray beard of my companion, shining in all its glory.”

Cold Tales is a collection of stories where things take place in this world we all know but happen in ways that defy all our common senses. This may be a reflection of Piñera’s own perspective, as his life was lived both in the midst of his world and always standing somewhat outside it. In his introduction to the collection, Guillermo Cabrera Infante writes that “Virgilio Piñera’s short stories are far from any received notion in literature, for they come from absolute alienation, where the shortest distance to hell is not through paradise but purgatory.”

In his native Cuba, Piñera is considered one of the great writers of the 20th century, but few of his works are currently in print in English translation. Born in Cárdenas in 1912, he began writing plays and poems in the 1930s and participating in Cuban politics and literary affairs. He was also homosexual, and the treatment of the Cuban government of people with his sexual and political inclinations led him to move to Buenos Aires as a voluntary exile. There he met the Polish writer, Witold Gombrowicz, and helped him translate his novel, Ferdydurke. Piñera also became acquainted with other writers and Cuban exiles and began writing absurdist short stories, likely influenced by Gombrowicz and Borges and anticipating. Many of the stories in Cold Tales were written during this period.

In 1958, anticipating the success of Fidel Castro’s revolution, Piñera returned to Cuba, and was, at first, involved in the circle of political and literary personalities forming around the core of the new regime. His pieces appeared in some of the most widely-read periodicals. But while acceptance of his political views had changed, attitudes toward his sexuality had not. Castro’s government wanted to eliminate what they called “the three Ps”: “prostitutes”, “pimps” and “pájaro” (homosexuals in Cuban slang). Che Guevara himself once hurled one of Piñera’s books off a shelf in the Cuban embassy in Algiers, shouting, “How dare you have a book by this foul faggot!”

In October 1961, he was arrested and jailed for pederasty, after which it became a struggle to live and love freely. He got work as a journalist and translator, and a few of his plays were performed, but it was well known that he was in Castro’s disfavor. Ostracized by many who had known him, he became known as something of a literary ghost. Though it was difficult to get his work published, he continued writing, and when he died of a heart attack in 1979, eighteen boxes of unpublished material were recovered from his apartment.

His work did gain some attention outside Cuba, however, being published in France, Romania, and elsewhere in Europe. And in 1988, Eridanos Press, a small (and much-missed) U. S. publishing house backed by Bompiani, the literary arm of Italy’s leading publishing corporation, Fabbri, released Cold Tales, taken from Piñera’s Cuentos Frios, published in Buenos Aires in 1956, along with over twenty more written afterwards, in excellent translations by Mark Schafer. Two years later, Eridanos also published one of Piñera’s three novels, Rene’s Flesh. And, in 2012, he finally received some posthumous recognition from the Cuban government, which organized a conference and several events to recognize “el Año Virgiliano“ in honor of the 100th anniversary of his birth.

Cold Tales has been, for me, the discovery of 2017 (so far). Unlike Laura Riding’s Progress of Stories, which suffer too much from taking place in the head and not the flesh, Piñera’s stories are both fantastic and palpably real. “These tales are cold because they limit themselves to the hard facts,” Piñera asserts in his Foreword.

You can see this in “Meat,” for example, in which people respond to a growing famine by cutting away and eating parts of their own bodies. “One distinguished physician predicted that a person weighing one hundred pounds (discounting viscera and the rest of the inedible organs) could eat meat for one hundred and forty days at the rate of half a pound a day.” One of the most obese men in town cannot control his hunger, however, and disappears in fifteen days: “After a while, no one could ever find him. Evidently, he was hiding….”

In “Swimming”, the narrator learns to swim on dry land–which, he admits, “has an agonized quality about it.” “… [A]t the same time one is dying, one is quite alive, quite alert, listening to the music that comes through the window and watching the worm crawl across the floor.” And there are benefits: “Once in a while I sink my hands into the marble tiles and offer them a tiny fish that I catch in the submarine depths.” In “The Mountain”, a man resolves to eat an entire mountain. He realizes that people will think him crazy, but takes comfort that, very gradually, “the mountain is losing mass and height.”

Some of Piñera’s stories are a mere paragraph long. Here, for example, is “Insomnia” in its entirety:

The man goes to bed early. He can’t fall asleep. He tosses and turns in bed, as might be expected. He gets tangled in the sheets. He lights a cigarette. He reads a little. He turns out the light again. But he can’t sleep. At three o’clock, he gets out of bed. He wakes his friend next door and confides that he can’t sleep. He asks the friend for advice. The friend advises him to take a short walk to tire himself out. And then, right away, to drink a cup of linden blossom tea and turn out the light. He does all that, but is unable to fall asleep. He gets up again. This time he goes to see a doctor. As usual, the doctor talks a lot but the man still doesn’t fall asleep. At six in the morning, he loads a revolver and blows his brains out. The man is dead, but hasn’t been able to get to sleep. Insomnia is a very persistent thing.

Cold Tales ends with perhaps Piñera’s last story, written in 1978, within a year of his death. In “The Death of the Birds”–just two pages long–the narrator reviews the different theories offered to explain why all the birds have died–epidemic, mass suicide, sudden thinning of the atmosphere, etc.. Many millions of birds lie strewn all over the earth and humanity is “filled with fright by the impossibility of discovering an explanation for such a monstrous fact.” But then, suddenly, they all come back to life and take flight.

Why? One can imagine a wise smile coming across Piñera’s as he wrote these closing lines:

The fiction of the writer, erasing the deed, returns them to life. And only with the death of literature will they fall again wretched onto the earth.

Cold Tales is now, sadly, out of print and used copies fetch over $30. But perhaps someone from David R. Godine, which bought Eridanos Press some years ago, will notice this piece and realize the simple step that can be taken to forestall the death of literature and keep the birds flying.

An anonymous book for children only was published by an anonymous publisher and anonymously praised in an anonymous journal. Moreover, it imitated variously the style of each of the known writers of the time, and this made the responsibility for its authorship all the more impossible to place. For none of the known writers could in the circumstances look guilty. But everyone else did, so this made the responsibility for its authorship all the more difficult to place. The police had instructions to arrest all suspicious-looking persons. But as everyone except the known writers was under suspicion, the department of censorship gave orders that the known authors should be put in prison to separate them from the rest of the population and that everyone else should be regarded as legally committed to freedom. ‘Did you write it?’ everyone was questioned at every street corner. And as the answer was always ‘No’, the questioned person was always remanded as a suspect.

The reasons why this book aroused the department of censorship were these. One–it imitated (or seemed to imitate) the style of all the known authors of the time and was therefore understood by the authorities to be a political (or moral) satire. Two–it had no title and was therefore feared by the authorities to be dealing under the cover of obscurity with dangerous subjects. Three–its publisher could not be traced and it was therefore believed by the authorities to have been printed uncommercially. Four–it had no author and was therefore suspected by the authorities of having been written by a dangerous person. Five (and last)–it advertised itself as a book for children, and was therefore concluded by the authorities to have been written with the concealed design of corrupting adults. As the mystery grew, the vigilance of the police grew, and the circulation of the book grew: for the only way that its authorship could be discovered was by increasing the number of people suspected, and this could only be done by increasing the number of readers. The authorities secretly hoped to arrive at the author by separating those who had read the book from those who had not read it, and singling out from among the latter him or her who pretended to know least about it.

….

Therefore the time has come to close. I am discovered, or rather I have discovered myself, for the authorities lost interest in me when they saw that I would discover myself before I could be officially discovered, that I would in fact break through the pages and destroy the strongest evidence that might be held against me, that is, that “An anonymous book”, etc. I understand now that what they desired to prevent was just what has happened. You must forgive me and believe that I was not trying to deceive, but that I became confused. I over-distinguished and so fell into satire and so discovered myself and so could not go on, to maintain a satiric distinction between authorship and scholarship.

from Progress of Stories, by Laura Riding

When I reviewed Thyra Samter Wilson’s first short story collection, Picture Frames, I wrote that there was “No room for nostalgia in this tough cookie’s heart.” In the thirty-plus years that separated Picture Frames from her last collection, The Sex Without Sentiment, Winslow seems to have squeezed a little in. But as her title proclaims, it’s not much–a broom closet, maybe, as the subtitle, “Short Stories Written With Understanding But Without Sentiment” emphasizes.

If Balzac had been a woman living in Manhattan in the 1950s, he might have written The Sex Without Sentiment. Like Balzac, Winslow’s human comedy is closer to Greek tragedy than to anything with the remote chance of evoking a laugh. And to Balzac’s grim fascination with human failings Winslow adds a feminine perspective. Woman, as they appear in The Sex Without Sentiment, are abused, cheated on, gossiped about, kept down, and, most often, ignored.

Winslow’s stories reveal a female version of the same rat race run by the businessmen scurrying over the island of Manhattan each work day. In a few cases, they are fighting their way up the same corporate ladder, but in most, the competition is for the simple matter of being noticed. In “Fur Flies,” a beautician in an expensive Midtown salon offers a quick overview of the race’s most popular heats:

When a woman like that hits a spot like Emily Deane’s there are only a few reasons. A younger man has fallen for her, which is unlikely, unless she’s a rich widow. Or somebody’s left her a fortune, and that’s unlikely, too, unless she tells about it; folks always want to tell about a fortune. Or her husband has fallen in love with another woman and she wants to get him back—the routine reason. Or her children think she’s dowdy and put the pressure on her.

Even for someone as the low end of the social scale, such as “Sophie Jackson”, a maid looking for a job, the feminine rat race has its trickle down effects:

Looking back, there wasn’t so much difference between the best and the worst places. Lazy mistresses or worried mistresses. Generous ones or those who, through nature or necessity, kept her from getting enough to eat. You got up early and set the table and cooked breakfast. Breakfast got lighter every year, but there was always toast and coffee and fruit–and eggs most of the time. Even this meant dozens of steps and dishes.

And, after breakfast, the work started. Beds to be made. “Don’t forget to turn the mattress. You didn’t turn it yesterday.” Rooms to be cleaned. Silver to be polished. And one eye on the clock, so lunch wouldn’t be late. And maybe a couple of visits to the store, during the morning. “Why didn’t you tell me you needed eggs? I believe you like to run to the store!”

After lunch, more dishes and more cleaning. And children coming home from school. Vegetables to prepare. Dinner—and more dishes. And washing on Monday and ironing on Tuesday. “Don’t get Mr. Watkins’ collars so stiff. These are soft shirts, Sophie!” And one room cleaned thoroughly each week. And staying in nights, so the children wouldn’t be alone.

Nights off—every Thursday, if you were lucky, and every second Sunday. Going to the movies alone, unless you made friends with one of the girls working in the neighborhood. The mistresses didn’t want to be mean. Sophie knew that. But they were harassed too. Or were worried about money. Or had difficult husbands. Or wanted to be out of the house, away from the work, as much as they could be.

In the race for romance, the odds are against Winslow’s women. Marriages, when they do happen, are usually unhappy. Or the price of love means being the other woman. In “More Like Sisters,” Lela Robbins, having been bound to her widow mother as a companion for the whole of her prime, has learned to take quick stock of her occasional dates: “She’d never hear from him again, or from the other men who would appear briefly and seem to like her a little.”

So some woman look for proxies. Rita, one of the four career women in “Girls in Black”–“and all four of them liked to think of themselves as career women, instead of professional women or girls who ‘go to business’”–finds one by inviting her older sister to move to Manhattan from Ohio: “Why, with Millie here, she belonged to someone. They were a family, the two of them. A woman alone at night is a pitiful sight. A woman alone in a restaurant always looks out of place, forlorn. But two women–that’s different.”

In “A Lamb Chop for the Little Dog,” an elderly widow discovers that something as small as having a dog makes the difference between being treated as part of a community and being ignored: “Before she had Frisky it never occurred to Mrs. Taylor that she was practically invisible. She had worn dark, decent clothes and thought that people treated her very well. Now she saw, curiously enough, that no one noticed her. She went out on the street–and it was just as if she were not there!”

Ironically, Winslow sold her work primarily to women’s magazines: Cosmopolitan, Good Housekeeping, Harpers Bazaar, Journal of Living, Todays Woman and Womans Day. Now, these are certainly stories of their time and not, for the most part, timeless classics. Perhaps The Sex Without Sentiment is more artifact than art, so it could be argued that, sixty years later, many women have found ways to avoid Winslow’s version of the rat race. Yet I could also point to Vivian Gornick’s recent Odd Woman in the City, which was discussed here at the end of last year, and suggest that there are still many effective ways to render older women living alone invisible.

The Sex Without the Sentiment, by Thyra Samter Winslow London and New York: Abelard-Schuman, 1957

Laura Riding’s Progress of Stories is something of a litmus test for readers. For some, it is a neglected masterpiece, a revolutionary work in the development of fiction, a book like no other. For others, it a book like no other … in its pretentiousness, its relentless interruptions to remind the reader that he/she is reading a piece of fiction, and its refusal, in many stories, to follow any conventional narrative pattern.

Riding first published Progress of Stories in 1935, when she was living with the poet Robert Graves on Majorca and running the Seizin Press. She had already made a name as a modernist poet in the U.S., divorced her first husband, had an affair with the poet Allen Tate, attempted suicide and broken up Graves’ first marriage–although she cut off sexual relations with Graves early in their time as a couple. If Riding comes across as a woman inclined to take things to extremes, that comes across in her fiction.

In the words of Graves’ nephew and biographer Richard Perceval Graves, “Her plenipotent intellect and personality swept away all resistance, reducing to discipleship, abject servility, or virtual madness anyone who could not manage to shake him/herself free from her mesmerizing, tyrannical influence. Her most subjective responses to experience were translated (by her as well as her followers) into world-historical imperatives and aesthetic universals, while her insight into the multiple layers of human personality enabled her to manipulate everyone around her intellectually, emotionally, and sexually.” (There is a striking resemblance between accounts of Riding by people who knew her–and her responses to them–and those of another litmus-like figure, Ayn Rand.)

I must confess defeat through exhaustion in dealing with Riding’s life and a good deal of her opinions. This is a woman who, in her eighties, could chastise Harry Mathews over four lengthy paragraphs for referring to her in a New York Review of Books article of the 1982 of Progress of Stories as “Laura” rather than “Laura (Riding) Jackson” (her preferred name after her 1941 marriage to critic Schuyler Jackson). She also made sure to note that “my work and myself” were subjects “which no professional literary man or woman can afford to disregard in his or her position-taking.” And I nearly surrendered before even reaching the stories in Progress of Stories thanks to 33 pages of prefaces (the one to the 1935 edition, followed by a second for the 1982 edition).

From the start, Riding draws a stark line between her work and those of virtually all her predecessors: “There is a quaint cult of story-writing which practises what is called ‘the short story’; pompous little fragments in whose very triviality, obscurity and shabbiness some significant principle of being is meant to be read.” Instead, it is time, she declares, that “we should be telling one another stories of ideas.” This is no earth-shaking assertion, but soon after it, Riding challenges the reader to digest the following sentence: “Thus the story-telling model of human speaking, or, as speaking recorded for silent apprehending is literarily named, ‘writing’, persists, in its natural casting of speaking or writing as reduplicating the live processes of happening, into the open areas of knowledge and understanding that all minds share as the world of intelligent being—partaking, in their unitary reality as minds, of the identity of mind.”

I balked for a moment, but plowed on (write me if you can explain what she meant). Or rather, detoured past the rest of the preface material and headed into the stories themselves. The book is organized in three major sections: the stories from the 1935 edition, followed by a selection of stories from Riding’s first two fiction collections, Anarchism is Not Enough (1928) and Experts Are Puzzled (1930). It concludes with “Christmastime,” a story she wrote in 1966 and her own reflections on some of the preceding stories.

The Progress of Stories section represents something of a journey out of conventional story-telling into the new territory Riding proposes to discover. The seven stories in Part One, “Stories of Lives”, a written in a very spare style but still somewhat represent other short stories one might be familiar with, although rather as if being viewed under a microscope like a specimen.

In Part Two, “Stories of Ideas,” however, Riding sets the reader down in wholly unfamiliar material. “Reality as Port Huntlady” opens with a simple, traditional narrative sentence: “Dan the Dog came to the town of Port Huntlady with two friends, Baby and Slick.” OK, no problem there. But then Riding tells us that, “Port Huntlady was not a town as other towns are towns. It was rather like a place where one felt a town might one day be, or where one felt that perhaps there had once been a town.” Port Huntlady, in other words, is not your usual seaside resort town. No, it is a town that–like the story itself–hovers between life in the real world and life in a world of ideas: “Port Huntlady was a place where things might happen; not the things that happened in the world proper, which were personal experiences, but universal experiences, such as the end of the world, or great turning-points in the course of human events.”

At the center of Port Huntlady affairs is Lady Port-Huntlady–herself an orphic figure who might well be a fictional counterpart for Riding herself: “Never seeming to say anything—and yet, after one had left her presence, it seemed that she had said a great deal, at least that one had understood a great many things that one did not really understand.” Indeed, a cynic might say the same thing after finishing Progress of Stories

But it doesn’t really matter what Lady Port-Huntlady might or might not say during her soirees, since, as Riding soon tells us, “We are all aware that there is no such place as Port Huntlady. It may well be that there is a place to which Port Huntlady stands as a lie stands to the truth. In fact, this is not far from being the case.” The inclusion of details is, for Riding, part of the attempt the story-teller to be believable, but this is ultimately equivalent to hypnotism: “this true-seeming is the power of the story to keep your interest until you have abandoned, quite frankly, those rational standards of interest with which we all prop up our chins when our thoughts scurry between brain and heart and we can do no better than be proud. It is the moral pretence of the story created by our joint vanity in being conscientious, orderly and truthful creatures—before we give ourselves up to its gentle idiocy….”

“But, indeed,” she asks further on, “is our story very important? Is any story very important? I assure you that no story is of much importance; and I think you will agree with me. Are we not all agreed that only a few things are really important?” Though she introduces other characters and engages them in various actions, she notes that these matters are both pointless and, therefore, infinite in their possibilities: “… how Lady Port-Huntlady would have consoled the cats by bringing down the remains of their lunch from the lounge; and how Miss Bookworth would have left Port Huntlady soon after to take up a post as secretary to a wealthy invalid whose hobby was corresponding with patients in tuberculosis sanatoria, in which he had spent much of his own life; and how a story may go on indefinitely unless there is perfect understanding at the start of the limitations that keep a story from being anything but a story….” In the end, she writes, driving a last stake through any pretense of honoring the “laws” of fiction, “no amount of ingenuity can save a story from seeming, in the end, just a story–just a piece of verbal luggage, belonging to anybody who cares to be bothered with it.”

In an interview, the poet Lisa Samuels, who edited the University of California Press 2001 reprint of Riding’s 1928 collection, Anarchism Is Not Enough, argued that Riding was challenging the very conceptual basis of fiction itself, rather like Brecht breaking the fourth wall between the play and its audience: “Her tone can be crisp in those stories, as you say; but her combinations of the fantastic, fairy tales, interrogating language as power, investigating what it means to draw and disassemble characters, challenging the reader to be aware of their desire for narrative and syntactic seduction, and so on, make for a situation, in my reading, of multiple possibilities (rather than precision) and messy genres (excess – I mean that in a good way).”

If you wanted to know whether or not you would get anything out of Progress of Stories, you could actually just go straight to “Reality as Port Huntlady” and draw your conclusions from that. For me, reading it was rather like the experience of looking at a Magic Eye picture, where you can feel your visual perception of the image switching back and forth between what seems like noise and then, a moment later, becomes coherent. It was both disorienting and, in a way, almost thrilling.

Continuing on in this manner for another two hundred-plus pages, however, was a like being trapped in a gallery with nothing on the walls except Magic Eye pictures. A little bit is an exciting novelty; dozens of these pictures, one following the other relentlessly, was mind-numbing. Reviewing the 1982 edition in New York magazine, Edith Milton concluded, “All this self-consciousness makes for quite difficult reading, and, despite their formal brilliance, the stories pall.”

On the other hand, Harry Mathews–himself a veteran challenger of the conventions of fiction–considered Riding’s venture among the most ambitious in 20th century literature: “Riding’s aim in writing this carefully structured series of stories was to make articulate in the experience of her readers a knowledge of life that is both true and nonconceptual. It was as if she wanted to make the mechanisms of language, usually so approximate and reductive, accurate enough in the effect of their working to initiate the reader willy-nilly into an awareness of what she felt to be the pure, unmediated truth.”

Unfortunately, Mathews managed to express himself better than Riding herself. For her entry in the 1955 edition of Twentieth Century Authors, she wrote: “We did not fully understand the character of the mental operation required for definitions of the kind we wished to make until we perceived that we must liberate our minds entirely from the confused associations of usage in which the meanings of words are entangled–and that, for us, the act of definition must involve a total reconstituting of words’ meanings. Much of our work has been done upon our minds, rather upon words directly: and we have proceeded very slowly, in consequence.” Indeed, “a total reconstituting of words’ meanings” could present a fairly insurmountable obstacle if one is trying to pursue writing as a career.

After seeing Progress of Stories mentioned as an undeservedly neglected book for decades, I was glad to finally have the chance to read it, but in the end, I was reminded of something a friend of mine once said when returning a book he’d borrowed: “It was good, but not that good.”

Progress of Stories, by Laura Riding New York: Persea Books, 1982

A locomotive–the biggest in the world–advances on a very narrow embankment. It’s the biggest locomotive in the world because it has surpassed the previous model, which–until the appearance of this one that runs on a narrow embankment–used to be the biggest in the world. It’s so big that you wouldn’t even see the other one next to it because it is the biggest in the world. But it’s all rather difficult to understand. For example, in relation to the place it hasn’t yet occupied in its travels, it isn’t the biggest in the world. I mean if it’s as long as from here to here, and the volume it displaces is from there to there, as long as it hasn’t yet occupied that space, one can’t say that it’s the biggest in the world.

If it’s moving at the incredible speed with which it eats up the track, you must know that it’s the biggest in the world, because if you don’t you will be threatened by knowing that it exists, yet not knowing that it’s the biggest in the world. The same holds true when you set your eyes on it: be careful how you look at it. Perhaps you will look at it and not see it as the biggest in the world, and will become greatly disappointed and even sad. I warn you, if you remain long in your contemplation with the complete understanding that it’s the biggest in the world, be very careful, for it will grow so big that it will occupy the whole earth and beyond.

After all, what does it mean to say that it’s the biggest in the world? The world is very big, but it too is the biggest in the world. But you will tell me that before it was built the other one was the biggest in the world and that it’s in relation to this one and not to the world itself that it’s the biggest in the world. I’m not telling you that, but rather, that the one that used to be the biggest in the world was, in its turn, the biggest in a world that was also very big. All right then, you will say, are there two locomotives that are the biggest in the world and two worlds that are the biggest in the world? And what about the locomotives built before the the biggest in the world and before the biggest of the biggest in the world? And the worlds that have corresponded to those locomotives from long before the biggest in the world?

Yes, where is the world prior to the biggest locomotive in the world, and the locomotive itself that used to be the biggest before the one that is now the biggest in the world? And so too, all those that were the biggest in the world before the one that now runs on the embankment and is the biggest in the world–were they thought the biggest in the world before the biggest in the world? Do you realize that there are many factors, that the whole question is surrounded by danger, that you could sink into an eternal night, that it’s possible to repeat the words and concepts without arriving at their meaning? Do you clearly understand the perils of the adventure that lies in knowing that the locomotive advancing along the narrow embankment is the biggest in the world?

“It has been said that a judge is a member of the Bar who once knew a Governor,” Curtis Bok quips in the first story in his collection of judicial stories, The Backbone of the Herring. With this opening line, the reader immediately gets a sense of Bok’s easy-going humor and self-deprecation. Although John Lukacs once described Bok’s personality as “glacial”–which it may well have been in public–as a writer, channeled through his fictional identity as “Judge Ulen” in these stories, Bok comes across as the kind of judge you’d want to have hearing your case–whether as plaintiff or defendant: conscientious, empathetic, impartial, and capable taking or making a joke once in a while.

Lukacs’ assessment might stem from Bok’s position on the highest tier of Philadelphia society. His father, Edward Bok was editor of The Saturday Evening Post and a Pulitzer Prize-winning author, and his mother, Mary Louise Curtis, brought a fortune and her husband’s access to his editorship courtesy of her father, Cyrus Curtis, who founded the Post along with a half-dozen of the other leading American magazines of the time. She herself founded the Curtis Institute of Music, considered the toughest American conservatory to get into, and somewhat shocked Philadelphia when, a widow of 67, she married the violinist and bon vivantEfrem Zimbalist (Senior). And, not to stunt the family tree, Curtis’ son, Derek grew up to become president of Harvard.

On the other hand, for a son of the Main Line, Curtis showed a remarkable capacity for choosing his own path. After a tour in the Navy during World War One, he studied law at the University of Virginia and became a member of a prestigious Philadelphia firm. He won a place on the cover of Time magazine in 1933 when he turned down the chance to run the family publishing company and, instead, kept his low-paying job as an assistant district attorney. Despite his time in the military, he was a practicing Quaker and a lifelong opponent of the death penalty.

Time magazine cover from July 1933 featuring Curtis BokIn 1937, he became President Judge of the Philadelphia Court of Common Pleas, the city’s primary civil and criminal court. Early on, he began keeping a notebook of his observations from the courtroom–not so much to aid in writing his opinions as to help shape his understanding of the nature of justice, and these developed into fictional sketches that he began publishing in The Shingle, the magazine of the Philadelphia Bar Association in 1939. These stories are collected in The Backbone of the Herring

“These are not entirely autobiographical or fictitious, nor is Ulen,” Bok writes in his foreword. His point in recounting these stories was “that our system of justice, apart from Justice, which will remain undefined so far as I am concerned, can be made to work when applied with art and sympathy and a sly sense of humor.” Describing himself as a “mediocre lawyer with good connections,” Ulen took some time to overcome his timidity and found, somewhat to his surprise, that “when at last he had drifted to a point of rest he came rather abruptly into his full powers and began to use them with a delight.”

Although Ulen’s reflections on justice (“Justice has to do with the play of an enlightened personality within the boundaries of a system”) are a constant motif, the real interest of these stories is in Bok/Ulen’s observations of people. One defendant, a hulking laborer, is “the kind of man who puts his hands on his hips to think.” A large woman at the end of a difficult day collapses into a chair “like an exhausted avalanche.” A wife leaves her husband not because he beat her, cheated, or “was actively unkind: he simply lived as though he had been cored out and had nothing with which to respond.” Of another left man, Bok writes that, “No one thought to educate him in the art of getting on with his fellow man: this knowledge is supposed to grow on trees.”

His survey of human relations includes his own. When his friend, Henry Fielder, newly elected as Governor, offers him a post on the bench, the little dance Bok describes is something you often witness in male interactions:

Gosh, said Ulen to himself, this is serious. He was an introvert and Henry was an extrovert, and they were very shy of sentiment. The one feared a rebuff and the other was afraid of falling in a swamp. It was an impasse of language, for each of them was continually delighted by what the other did and bothered by what he said. Fielder called the thing he saw a spade. Ulen preferred to call it nothing, on the chance it might turn into something else of make a reasonable answer. The result was that when they were together they spent a great deal of time looking at their own feet and thinking what a wonderful fellow the other was in his own way.

On the other hand, Bok/Ulen is clearly operating in unfamiliar territory in those sketches where he ventures out of the courtroom, and positively lost when he tries to imagine what people do and say when he is not there. In “Artema’s Story,” about a failed romance that ultimately winds up on his docket, he expects the reader to believe that any woman would say the following to her lover: “We must lie greatly or not at all. To me this evening was a natural as walking in the city and suddenly seeing the hills. Maybe we stop being prisoners only when we don’t care whether the gates are open or shut. I may never know that with lucidity, but you will when the time comes.” Perhaps she was talking to Master Thespian. Fortunately, these potholes are few and easy to veer around.

Bok spent over twenty years in charge of the Court of Common Pleas, and wrote several well-regarded law texts, along with a few influential opinions. In his most famous, throwing out obscenity charges against a Philadelphia bookseller who was offering works by such smut-mongers as William Faulkner and James T. Farrell, he wrote that “It will be asked whether one would care to have one’s young daughter read these books.” The worst that might happen, in Bok’s view, was that “they will learn what is in the world and in its people, and no parents who have been discerning with their children need fear the outcome. Nor can they hold it back, for life is a series of little battles and minor issues, and the burden of choice is on us all, every day, young and old.”

He also wrote a sequel to The Backbone of the Herring, I, Too, Nicodemus (1946), which collected further “judicial adventures” of Judge Ulen. He also wrote two novels: Star Wormwood (1959), written as an illustration of the moral harm of the death penalty, and Maria (1962), a romance set on his beloved coast of Maine and published posthumously. Bok was appointed to the Pennsylvania Supreme Court in 1958 and served there until his death in 1962.

The title of The Backbone of the Herring, by the way, comes from a judicial oath used on the Isle of Man centuries ago: “You swear to do justice between cause and cause as equally as the backbone of the herring doth lie midmost of the fish.” The dust jacket design is by renowned graphic designer W. A. Dwiggins, who provided Knopf with some of its best covers of the 1930s and 1940s.

The Backbone of the Herring, by Curtis Bok,br> New York: Alfred A. Knopf, 1941

A manuscript page from William Sansom’s story “No Smoking on the Apron”

A new paragraph, a white breath for the eyes, is becoming more and more a necessity nowadays, with the accelerated pace of things in general and I would say certainly with readers reluctant to face too large a block of words with no relieving white space. Look at a page of Simenon, an economical writer with a fast narrative pace, and see how extremely short his paragraphs are, how seductive the whitened pages.

from The Birth of a Story, by William Sansom London: Chatto & Windus/The Hogarth Press, 1972

The Bank Robbery, by Steve Schutzman

The bank robber told his story in little notes to the bank teller. He held the pistol in one hand and gave her the notes with the other. The first note said:

This is a bank holdup because money is just like time and I need more to keep on going, so keep your hands where I can see them and don’t go pressing any alarm buttons or I’ll blow your head off.

The teller, a young woman of about twenty-five, felt the lights which lined her streets go on for the first time in years. She kept her hands where he could see them and didn’t press any alarm buttons.

Ah danger, she said to herself, you are just like love.

After she read the note, she gave it back to the gunman and said:“This note is far too abstract. I really can’t respond to it.”

The robber, a young man of about twenty-five, felt the electricity of his thoughts in his hand as he wrote the next note.

Ah money, he said to himself, you are just like love.

His next note said:

This is a bank hold up because there is only one clear rule around here and that is WHEN YOU RUN OUT OF MONEY YOU SUFFER, so keep your hands where I can see them and don’t go pressing any alarm buttons or I’ll blow your head off.

The young woman took the note, touching lightly the gunless hand that had written it. The touch of the gunman’s hand went immediately to her memory, growing its own life there. It became a constant light toward which she could move when she was lost. She felt that she could see everything clearly as if an unknown veil have just been lifted.

“I think I understand better now,” she said to the thief, looking first in his eyes and then at the gun. “But all this money will not get you what you really want.”

She looked at him deeply, hoping that she was becoming rich before his eyes.

Ah danger, she said to herself, you are the gold that wants to spend my life.

The robber was becoming sleepy. In the gun was the weight of his dreams about this moment when it was yet to come. The gun was like the heavy eyelids of someone who wants to sleep but is not allowed.

Ah money, he said to himself, I find little bits of you leading to more of you in greater little bits. You are promising endless amounts of yourself but others are coming. They are threatening our treasure together. I cannot pick you up fast enough as you lead into the great, huge quiet that you are. Oh money, please save me, for you are desire, pure desire, that wants only itself.

The gunman could feel his intervals, the spaces in himself, piling up so he could not be sure of what he would do next. He began to write. His next note said:

Now is the film of my life, the film of my insomnia; an eerie bus ride, a trance in the night, from which I want to step down, whose light keeps me from sleeping. In the streets I will chase the windblown letter of love that will save my life. Give me the money, My Sister, so that I can run my hands through its hair. This is the unfired gun of time, so keep your hands where I can see them and don’t go pressing any alarm buttons or I’ll blow your head off with it.

Reading, the young woman felt her inner hands grabbing and holding onto this moment of her life.

Ah danger, she said to herself, you are yourself with perfect clarity. Under your lens I know what I want.

The young man and woman stared into each other’s eyes forming two paths between them. On one path his life, like little people, walked into her, and on the other hers walked into him.

“This money is love,” she said to him. “I’ll do what you want.”

She began to put money into the huge satchel he had provided.

As she emptied it of money, the bank filled with sleep. Everyone else in the bank slept the untroubled sleep of trees that would never be money. Finally she placed all the money into the bag.

The bank robber and the bank teller left together like hostages of each other. Though it was no longer necessary, he kept the gun on her, for it was becoming like a child between them.

When I was an undergrad, I loved Tri-Quarterly magazine. I probably came across it while browsing through the stacks on the Periodicals floor, and saw in a glance that it was chock full of innovative writing. You have to understand that this was at the height of the Vonnegut craze. My brother and I read all of Vonnegut’s books. He gave me Breakfast of Champions for Christmas 1973, and we even bought the supposed Kilgore Trout novel, Venus on the Half-Shell when it came out in 1975. I suspect that for a lot of young men at the time, Vonnegut was the gateway drug to experimental fiction–Ishmael Reed, Donald Barthelme, and the just-formed Fiction Collective led by Ronald Sukenick, Jonathan Baumbach, and Steve Katz.

Still under the influence of its original editor, Charles Newman, Tri-Quarterly was always worth reading. Everybody who seemed to be pushing the envelope of fiction was in it. When it came time for me to write a senior thesis for English, I took as my subject the experimental American short story, and almost all my material came from Tri-Quarterly.

So when I decided to devote 2017 to covering neglected short stories, I tried to remember some of the writers I covered. Many of them have come up from the fringe to the mainstream, or at least to the mainstream as it’s reflected in academic coverage. Even what I had considered a pretty unknown experimental story, A. B. Paulsen’s “The Minnesota Multiphasic Personality: A Diagnostic Test in Two Parts” turns out to be included in the anthology Extreme Fictions and on some college course reading lists. But I remembered in particular a Tri-Quarterly issue devoted to short short stories that seemed to have something from just about everyone active on the American experimental fiction scene–Katz, Sukenick, Baumbach, Eugene Wildman, Russell Edson, Frederic Tuten, Max Apple, T. Coraghessan Boyle, Ursule Molinaro. When I got hold of a copy, however, I was surprised at the stellar level of the participation: Borges, Cortazar, Robbe-Grillet, John Hawkes, W. S. Merwin, Robert Coover, Annie Dillard, Angela Carter, and someone I’d love to see more of in English, the German fabulist H. C. Artmann.

Now, as often proves the case when one revisits enthusiasms of youth after a few decades, not everything in this collection was quite as fresh as I recalled. An unfortunate number of stories were experimental only in the sense that punctuation or spacing was played with–otherwise, they could have appeared in The Transatlantic Review, The Little Review, or transition fifty years before. An equal number were now insufferably sexist.

But a few have held up well, including this daffy romance from Steve Schutzman, which won a Pushcart Prize. Schutzman has his own website, and turns out to have published his one collection of short fiction, The History of Sleep way back in 1976. I will have to track it down.

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